



j 




THE Y A L E ^ 
SHAKESPEARE^' 


{ 

i 
1 




TWELFTH NIGHT, 

OR 
WHAT YOU WILL 






Edited by 
George H. Nettleton 






Yale University 
Press 






Class PR-2-^ as:^ 
CcpiglrtN? 

CfiEXRIGHT DEPOSm 



THE YALE SHAKESPEARE 



Edited by 
Wilbur L. Cross Tucker Brooke 



Published under the Direction 

or THE 

Department of English, Yale University, 

ON the Fund 

Given to the Yale University Press in 1917 

BY THE Members of the 

Kingsley Trust Association 

To Commemorate the Seventy-Fifth Anniversary 

of the Founding of the Society 



• : The Yale Shakespeare \ • 

TWELFTH NIGHT, OR 
WHAT YOU WILL 

EDITED BY 

GEORGE HENRY NETTLETON 




NEW HAVEN • YALE UNIVERSITY PRESS 

LONDON ■ HUMPHREY MILFORD 

OXFORD UNIVERSITY PRESS • MCMXXII 



'^ancgraph 



^^^S'= 



Copyright, 1922 
By Yale University Press 



First published, January, 1922 



tJAIi I u Vill 



^C!.A654575 



CONTENTS 

The Text 

Notes 

Appendix A. Sources of the Play 
Appendix B. The History of the Play 
Appendix C. The Text 

Appendix D. Suggestions for Collateral 
ing . 

Index of Words Glossed 



Read- 



Page 
1 

98 

105 

112 

117 

119 
120 



The facsimile opposite represents the title-page of an 
early edition, in the Yale University Library ^ of the 
comedy of'GV Ingannati,^ originally performed during 
a Sienese carnival {153 f) by the literary society of the 
Intronati. This play first combined in a significant 
degree the essential elements in the plot of ^Twelfth 
Night. ^ See Appendix A. 



C O M E D I 

DEL SACRIFICIO 

DE GLI INTRONATl. 

CELEBKATO K^ ' 

ginociji d'un Carnomle in 

SienK • 

Di nuouo corretta,& riftatnpata. 




IN VENEETIA, 

Apprcflo Francefco Rampazctto . 
M D L X 1 1. 



[DRAMATIS PERSONtE 

Orsino^ Duke of Illyria 

Sebastian, Brother to Viola 

Antonio, a Sea Captain, Friend to Sebastian 

A Sea Captain^ Friend to Viola 

Valentine, 1 ^ , ,. t t^ t 

\Qjentlemen attending on the Duke 
Curio, J 

Sir Toby Belch, Uncle to Olivia 

Sir Andrew Aguecheek 

Malvolio, Steward to Olivia 

(Servants to Olivia 

Olivia, a rich Countess 

Viola, in love with the Duke 

Maria, Olivia's Woman 

Lords, Priests, Sailors, Officers, Musicians, and other 

Attendants 
Scene: A City in Illyria; and the Sea-coast near it.'\ 

/ Dramatis Personse. First given by Rowe, 1709. 



Twelfth Night, or What You Will 
ACT FIRST 

Scene One 

[A Room in the Duhe's Palace'\ 

Enter Orsino, DuJce of Illyria, Curio, and other Lords, 

[Musicians attending.^ 

Duhe. If music be the food of love^ play on ; 
Give me excess of it^ that^ surfeiting, 
The appetite may sicken, and so die. 
That strain again ! it had a dying fall : 4 

O ! it came o'er my ear like the sweet sound 
That breathes upon a bank of violets. 
Stealing and giving odour. Enough ! no more : 
'Tis not so sweet now as it was before. 8 

O spirit of love ! how quick and fresh art thou, 
That, notwithstanding thy capacity 
Receiveth as the sea, nought enters there, 
Of what validity and pitch soe'er, 12 

But falls into abatement and low price. 
Even in a minute: so full of shapes is fancy, 
That it alone is high fantastical. 

Cur. Will you go hunt, my lord ? 

Duke. What, Curio ? 16- 

Cur. The hart. 

Duke. Why, so I do, the noblest that I have. 

4 iall: cadence 5 sound: niitrmuring breeze 9 quick: Iwtnff' 

12 validity: value pitch: height (of excellence) 

13 abatement: lower estiniatioti 14 fancy: love 
IS high fantastical: highly imaginative 



Twelfth Night, 



O ! when mine eyes did see Olivia first, 

Methought she purg'd the air of pestilence. 20 

That instant was I turn'd into a hart. 

And my desires, like fell and cruel hounds, 

E'er since pursue me. 

Enter Valentine. 

How now ! what news from her r 
Vol. So please my lord, I might not be admitted; 24 
But from her handmaid do return this answer: 
The element itself, till seven years' heat. 
Shall not behold her face at ample view ; 
But, like a cloistress, she will veiled walk, 28 

And water once a day her chamber round 
With eye-offending brine: all this, to season 
A brother's dead love, which she would keep fresh 
And lasting in her sad remembrance. 32 

Duke. O ! she that hath a heart of that fine frame 
To pay this debt of love but to a brother. 
How will she love, when the rich golden shaft 
Hath kill'd the flock of all affections else 36 

That live in her ; when liver, brain, and heart. 
These sovereign thrones, are all supplied, and fiU'd 
Her sweet perfections with one self king. 
Away before me to sweet beds of flowers; 40- 

Love-thoughts lie rich when canopied with bowers. 

Exeunt. 

22 like . . . hounds: an allusion to the story of Act cb on 

26 element: sky heat: course 28 cloistress: nun 

30 stSiSon: preserve 

37 liver: popularly regarded as the seat of the emotions 

39 self: exclusive 



or What You Will, I. ii 



Scene Two 

[The Sea-coasf] 

Enter Viola, a Captain, and Sailors. 

Vio. What country, friends, is this ? 

Cap. . This is lUyria, lady. 

Vio, And what should I do in Illyria ? 
My brother he is in Elysium. 

Perchance he is not drown'd: what think you, 
sailors ? 4 

Cap. It is perchance that you yourself were sav'd. 

Vio. O my poor brother ! and so perchance may he 
be. 

Cap. True, madam: and, to comfort you with 
chance, 
Assure yourself, after our ship did split, 8 

When you and those poor number sav'd with you 
Hung on our driving boat, I saw your brother, 
Most provident in peril, bind himself, — 
Courage and hope both teaching him the practice, — 12 
To a strong mast that liv'd upon the sea ; 
Where, like Arion on the dolphin's back, 
I saw him hold acquaintance with the waves 
So long as I could see. 

Vio. For saying so, there's gold. 16 

Mine own escape unfoldeth to my hope. 
Whereto thy speech serves for authority, 
The like of him. Know'st thou this country? 

Cap. Ay, madam, well; for I was bred and born 20 
Not three hours' travel from this very place. 

Vio. Who governs here? 

Cap. A noble duke, in nature as in name. 

5 perchance: by chance (.in contrast with Viola's previous use of the 
word) 



Twelfth Night, 



Vio. What is his name? 24 

Cap, Orsino. 

Vio. Orsino ! I have heard my father name him : 
He was a bachelor then. 

Cap. And so is now^ or was so very late ; 28 

For but a month ago I went from hence. 
And then 'twas fresh in murmur_, — as, you know, 
What great ones do the less will prattle of, — 
That he did seek the love of fair Olivia. 32 

Vio. What's she? 

Cap. A virtuous maid, the daughter of a count 
That died some twelvemonth since; then leaving her 
In the protection of his son, her brother, 36 

Who shortly also died: for whose dear love, 
They say, she hath abjur'd the company 
And sight of men. 

Vio. O ! that I serv'd that lady, 

And might not be deliver'd to the world, 40 

Till I had made mine own occasion mellow. 
What my estate is. 

Cap. That were hard to compass. 

Because she will admit no kind of suit, 
No, not the duke's. 44 

Vio. There is a fair behaviour in thee, captain ; 
And though that nature with a beauteous wall 
Doth oft close in pollution, yet of thee 
I will believe thou hast a mind that suits 48 

With this thy fair and outward character. 
I prithee, — and I'll pay thee bounteously, — 
Conceal me what I am, and be my aid 
For such disguise as haply shall become 52 

The form of my intent. I'll serve this duke: 
Thou shalt present me as an eunuch to him: 

28 late: lately 30 fresh in murmur: a recent rurnor 

33 What: wJio 40-42 might . . . is; cf. n. 52 become: befit 



or What You Will, I. Hi 



It may be worth thy pains ; for I can sing 

And speak to him in many sorts of music 56 

That will allow me very worth his service. 

What else may hap to time I will commit; 

Only shape thou thy silence to my wit. 

Cap. Be you his eunuch^ and your mute I'll be: 60 
When my tongue blabs, then let mine eyes not see. 

Vio. I thank thee : lead me on. Exeunt. 

Scene Three 
[^ Room in Olivia's House^ 
Enter Sir Toby and Maria. 

Sir To. What a plague means my niece, to 
take the death of her brother thus? I am sure 
care's an enemy to life. 

Mar. By my troth, Sir Toby, you must come 4 
in earlier o' nights: your cousin, my lady, takes 
great exceptions to your ill hours. 

Sir To. Why, let her except before excepted. 

Mar. Ay, but you must confine yourself within 8 
the modest limits of order. 

Sir To. Confine! I'll confine myself no finer 
than I am. These clothes are good enough to 
drink in, and so be these boots too : an they be 12 
not, let them hang themselves in their own 
straps. 

Mar. That quaffing and drinking will undo 
you : I heard my lady talk of it yesterday ; and 16 
of a foolish knight that you brought in one 
night here to be her wooer. 

Sir To. Who ? Sir Andrew Aguecheek ? 

57 allow: approve 60 eunuch . . . mute; cf. it. 

7 except heiore excepted: a current law phrase 12 an: if 



Twelfth Night, 



Mar. A.J, he. 20 

Sir To. He's as tall a man as any's in lUyria. 

Mar. What's that to the purpose ? 

Sir To. Why, he has three thousand ducats 
a year. 24 

Mar. A.J, but he'll have but a year in all 
these ducats: he's a very fool and a prodigal. 

Sir To. Fie, that you'll say so! he plays o' 
the viol-de-gamboys, and speaks three or four 28 
languages word for word without book, and 
hath all the good gifts of nature. 

Mar. He hath indeed, almost natural; for, 
besides that he's a fool, he's a great quarreller ; 32 
and but that he hath the gift of a coward to allay 
the gust he hath in quarrelling, 'tis thought 
among the prudent he would quickly have the 
gift of a grave. 36 

Sir To. By this hand, they are scoundrels and 
substractors that say so of him. Who are they? 

Mar. They that add, moreover, he's drunk 
nightly in your company. 40 

Sir To. With drinking healths to my niece. 
I'll drink to her as long as there is a passage in 
my throat and drink in Illyria. He's a coward 
and a coystril, that will not drink to my niece 44 
* till his brains turn o' the toe like a parish-top. 
What, wench! Castiliano vulgo! for here comes 
Sir Andrew Agueface. 

Enter Sir Andrew. 

Sir And. Sir Toby Belch! how now. Sir Toby 48 
Belch! 

21 tall: fine, used ironically 28 viol-de-gamboys; cf. n. 

31 natural; cf. n. _ 34 gust: gusto, zest 

38 s\x\)Str3iQ.toxs: perversion of 'detractors' 44 coystril: coi 

45 parish-top; c/. «. 46 Castiliano vulgo ; c/. n. 



or What You Will, I, in 



Sir To. Sweet Sir Andrew ! 

Sir And. Bless jou, fair shrew. 

Mar. And you too, sir. 52 

Sir To. Accost, Sir Andrew, accost. 

Sir And. What's that? 

Sir To. My niece's chambermaid. 

Sir And. Good Mistress Accost, I desire 56 
better acquaintance. 

Mar. My name is Mary, sir. 

Sir And. Good Mistress Mary Accost, — 

Sir To. You mistake, knight: 'accost' is, 60 
front her, board her, woo her, assail her. 

Sir And. By my troth, I would not under- 
take her in this company. Is that the meaning 
of 'accost'.^ 64 

Mar. Fare you well, gentlemen. 

Sir To. An thou let her part so. Sir Andrew, 
would thou mightst never draw sword again! 

Sir And. An you part so, mistress, I would I 68 
might never draw sword again. Fair lady, do 
you think you have fools in hand? 

Mar. Sir, I have not you by the hand. 

Sir And. Marry, but you shall have; and 72 
here's my hand. 

Mar. Now, sir, 'thought is free': I pray you, 
bring your hand to the buttery-bar and let it 
drink. 76 

Sir And. Wherefore, sweetheart? what's your 
metaphor ? 

Mar. It's dry, sir. 

Sir And. Why, I think so: I am not such an 80 
ass but I can keep my hand dry. But what's 
your j est ? 

74 thought is free: a proverbial expression 
75, 76 bring . . . drink; cf. n. 



Twelfth Night, 



Mar. A dry jest^ sir. 

Sir And. Are you full of them? 84 

' Mar. Ay, sir, I have them at my fingers' ends : 
marry, now I let go your hand, I am barren. 

Exit Maria. 

Sir To. O knight! thou lackest a cup of 
canary: when did I see thee so put down? 88 

Sir And. Never in your life, I think; unless 
you see canary put me down. Methinks some- 
times I have no more wit than a Christian or an 
ordinary man has ; but I am a great eater of 92 
beef, and I believe that does harm to my wit. 

Sir To. No question. 

Sir And. An I thought that, I'd forswear it. 
I'll ride home to-morrow. Sir Toby. 96 

Sir To. Pourquoi, my dear knight ? 

Sir And. What is 'pourquoi'? do or not do? 
I would I had bestowed that time in the tongues 
that I have in fencing, dancing, and bear-bait- 100 
ing. O ! had I but followed the arts ! 

Sir To. Then hadst thou had an excellent 
head of hair. 

Sir And. Why, would that have mended my 104 
hair ? 

Sir To. Past question ; for thou seest it will 
not curl by nature. 

Sir And. But it becomes me well enough, 108 
does 't not ? 

Sir To. Excellent; it hangs like flax on a 
distaff, and I hope to see a housewife take thee 
between her legs, and spin it off. 112 

Sir And. Faith, I'll home to-morrow. Sir 
Toby: your niece will not be seen; or if she be, 

90 canary: wine 102, 103 Then . . . hair; cf. n. 



or What You Will, I, Hi 9 

it's four to one she'll none of me. The count 
himself here hard by woos her. 116 

Sir To. She'll none o' the count; she'll not 
match above her degree, neither in estate, years, 
nor wit; I have heard her swear it. Tut, there's 
life in 't, man. 120 

Sir And. I'll stay a month longer. I am a 
fellow o' the strangest mind i' the world; I de- 
light in masques and revels sometimes altogether. 

Sir To. Art thou good at these kickchawses, 124 
knight } 

Sir And. As any man in Illyria, whatsoever 
he be, under the degree of my betters : and yet I 
will not compare with an old man. 128 

Sir To. What is thy excellence in a galliard, 
knight ? 

Sir And. Faith, I can cut a caper. 

Sir To. And I can cut the mutton to 't. 132 

Sir And. And I think I have the back-trick 
simply as strong as any man in Illyria. 

Sir To. Wherefore are these things hid? 
wherefore have these gifts a curtain before 'em } 136 
are they like to take dust, like Mistress Mall's 
picture? why dost thou not go to church in a 
galliard, and come home in a coranto? My very 
walk should be a jig: I would not so much as 140 
make water but in a sink-a-pace. What dost 
thou mean? is it a world to hide virtues in? I 
did think, by the excellent constitution of thy 
leg, it was formed under the star of a galliard. 144 

115 The count; cf. n. 

119, 120 there's life in 't: 'while there is life there is hope' 

124 kickchawses: kickshaws, trifles 

127, 128 yet . . . man; cf. n. 129 galliard: lively French dance 

132 mutton: commonly served with caper sauce 

133 back-trick: caper backwards 137 Mistress Mall; cf. n. 
139 coranto: lively dance 141 sink-a-pace: cinquepace, lively dance 



10 Twelfth Night, 

Sir And. Ay, 'tis strong, and it does indifferent 
well in a flame-coloured stock. Shall we set 
about some revels ? 

Sir To. What shall we do else ? were we not 148 
born under Taurus ? 

Sir And. Taurus ! that's sides and heart. 

Sir To. No, sir, it is legs and thighs. Let me 
see thee caper. Ha ! higher : ha, ha ! excellent ! 152 

Exeunt. 



Scene Four 
[A Room in the Duke's Palace^ 

Enter Valentine, and Viola in man's attire. 

Val. If the duke continue these favours to- 
wards you, Cesario, you are like to be much 
advanced: he hath known you but three days, 
and already you are no stranger. 4 

Vio. You either fear his humour or my negli- 
gence, that you call in question the continuance 
of his love. Is he inconstant, sir, in his favours } 

Val. No, believe me. 8 

Vio. I thank you. Here comes the count. 

Enter Duke, Curio, and Attendants. 

Duke. Who saw Cesario? ho! 

Vio. On your attendance, my lord; here. 

Duke. Stand you awhile aloof. Cesario, 12 

Thou know'st no less but all ; I have unclasp'd 
To thee the book even of my secret soul : 
Therefore, good youth, address thy gait unto her, 

146 stock: stocking 149 Taurus; cf. n. 

5 humour: capriciousness 

11 On your attendance: in attendance upon you 13 but: than 



or What You Will, I. iv 1 1 

Be not denied access_, stand at her doors^ 16 

And tell them, there thy fixed foot shall grow 
Till thou have audience. 

Vio. Sure, my noble lord. 

If she be so abandon'd to her sorrow 
As it is spoke, she never will admit me. 20 

Duke. Be clamorous and leap all civil bounds 
Rather than make unprofited return. 

Vio. Say I do speak with her, my lord, what then? 

Duke. O ! then unfold the passion of my love ; 24 
Surprise her with discourse of my dear faith: 
It shall become thee well to act my woes ; 
She will attend it better in thy youth 
Than in a nuncio of more grave aspect. 28 

Vio. I think not so, my lord. 

DuJce. Dear lad, believe it; 

For they shall yet belie thy happy years 
That say thou art a man: Diana's lip 
Is not more smooth and rubious; thy small pipe 32 
Is as the maiden's organ, shrill and sound; 
And all is semblative a woman's part. 
I know thy constellation is right apt 
For this affair. Some four or five attend him; 36 

All, if you will ; for I myself am best 
When least in company. Prosper well in this. 
And thou shalt live as freely as thy lord. 
To call his fortunes thine. 

Vio. I'll do my best 40 

To woo your lady: [^Aside] yet, a barful strife ! 
Whoe'er I woo, myself would be his wife. Exeunt. 

20 spoke: said 22 unprofited: profitless 

28 nuncio: messenger 32 rubious: rc^5' pipe: voice 

33 sound: clear 34 semblative : /ife^ 

35 constellation: temperament 41 hariul: full of impediments 



12 Twelfth Night, 

Scene Five 
\^A Room in Olivia s House^ 

Enter Maria and Clown. 

Mar. Nay, either tell me where thou hast 
been, or I will not open my lips so wide as a 
bristle may enter, in way of thy excuse. My 
lady will hang thee for thy absence. 4 

Clo. Let her hang me: he that is well hanged 
in this world needs to fear no colours. 

Mar. Make that good. 

Clo. He shall see none to fear. 8 

Mar. A good lenten answer: I can tell thee 
where that saying was born, of 'I fear no colours.' 

Clo. Where, good Mistress Mary.^* 

Mar. In the wars ; and that may you be bold 12 
to say in your foolery. 

Clo. Well, God give them wisdom that have 
it; and those that are fools, let them use their 
talents. 16 

Mar. Yet you will be hanged for being so 
long absent; or, to be turned away, is not that 
as good as a hanging to you ? 

Clo. Many a good hanging prevents a bad 20 
marriage; and, for turning away, let summer 
bear it out. 

Mar. You are resolute then ? 

Clo. Not so, neither ; but I am resolved on 24 
two points. 

Mar. That if one break, the other will hold; 
or, if both break, your gaskins fall. 

Clo. Apt, in good faith ; very apt. Well, go thy 28 

6 fear no colours; cf. n. 9 lenten: scanty 

26 if one break; cf. n. 27 gaskins: loose breeches 



or What You Will I.v is 

way : if Sir Toby would leave drinking^ thou wert 
as witty a piece of Eve's flesh as any in Illyria. 

Mar. Peace, you rogue^ no more o' that. Here 
comes my lady : make your excuse wisely, you 32 
were best. [Exit.'] 

Clo. Wit, an 't be thy will, put me into good 
fooling! Those wits that think they have thee, 
do very oft prove fools ; and I, that am sure I 36 
lack thee, may pass for a wise man: for what 
says Quinapalus? 'Better a witty fool than a 
foolish wit.' 

Enter Lady Olivia, with Malvolio. 

God bless thee, lady ! 40 

Oil. Take the fool away. 

Clo. Do you not hear, fellows? Take away 
the lady. 

OU. Go to, you're a dry fool ; I'll no more of 44 
you : besides, you grow dishonest. 

Clo. Two faults, madonna^ that drink and 
good counsel will amend: for give the dry fool 
drink, then is the fool not dry ; bid the dis- 48 
honest man mend himself: if he mend, he is no 
longer dishonest; if he cannot, let the botcher 
mend him. Any thing that's mended is but 
patched: virtue that transgresses is but patched 52 
with sin; and sin that amends is but patched 
with virtue. If that this simple syllogism will 
serve, so; if it will not, what remedy? As there 
is no true cuckold but calamity, so beauty's a 56 
flower. The lady bade take away the fool ; there- 
fore, I say again, take her away. 

on. Sir, I bade them take away you. 

38 Qmr\aii>3L\vLS'. an imaginary philosopher 44 dry: insipid 

50 botcher: mender of old clothes 55-57 As . . . flower; cf. n. 



14 Twelfth Night, 

Clo. Misprision in the highest degree ! Lady, 60 
cucuUus non facit monachum; that's as much 
to say as I wear not motley in my brain. Good 
madonna, give me leave to prove you a fool. 

OIL Can you do it? 64 

Clo. Dexteriously, good madonna. 

on. Make your proof. 

Clo. I must catechise you for it, madonna: 
good my mouse of virtue, answer me. 68 

on. Well, sir, for want of other idleness, 111 
bide your proof. 

Clo, Good madonna, why mournest thou? 

on. Good fool, for my brother's death. 72 

Clo. I think his soul is in hell, madonna. 

Oil. I know his soul is in heaven, fool. 

Clo. The more fool, madonna, to mourn for 
your brother's soul being in heaven. Take away 76 
the fool, gentlemen. 

on. What think you of this fool, Malvolio? 
doth he not mend? 

Mai. Yes ; and shall do, till the pangs of 80 
death shake him: infirmity, that decays the 
wise, doth ever make the better fool. 

Clo. God send you, sir, a speedy in^rmity, for 
the better increasing your folly! Sir Toby will 84 
be sworn that I am no fox, but he will not pass 
his word for two pence that you are no fool. 

Oil. How say you to that, Malvolio? 

Mai. I marvel your ladyship takes delight in 88 
such a barren rascal: I saw him put down the 
other day with an ordinary fool that has no more 

60 Misprision: misapprehension 

61 cucullus . . . monachum.: a cowl does not make a monk 

62 motley: the fool's dress 65 'Deyit&Tiously: dexterously 
68 mouse.: a term, of endear'inent 69 idleness: pastime 
89 barren: witless 90 with: by 



or What You Will, Iv is 

brain than a stone. Look you now^ he's out of 
his guard already ; unless you laugh and minister 92 
occasion to him^ he is gagged. I protest^ I take 
these wise men, that crow so at these set kind of 
fools, no better than the fools' zanies. 

Oli. O ! you are sick of self-love, Malvolio, 96 
and taste with a distempered appetite. To be 
generous, guiltless, and of free disposition, is to 
take those things for bird-bolts that you deem 
cannon-bullets. There is no slander in an al- lOO 
lowed fool, though he do nothing but rail; nor 
no railing in a known discreet man, though he 
do nothing but reprove. 

Clo. Now, Mercury endue thee with leasing, 104 
for thou speakest well of fools ! 

Enter Maria. 

Mar. Madam, there is at the gate a young 
gentleman much desires to speak with you. 

Oli. From the Count Orsino, is it? 108 

Mar. I know not, madam: 'tis a fair young 
man, and well attended. 

Oli. Who of my people hold him in delay } 
Mar. Sir Toby, madam, your kinsman. H2 

Oli. Fetch him off, I pray you: he speaks 
nothing but madman. Fie on him! [Exit Maria.'] 
Go you, Malvolio: if it be a suit from the count, 
I am sick, or not at home ; what you will, to 116 
dismiss it. Exit Malvolio. Now you see, sir, 
how your fooling grows old, and people dislike it. 
Clo. Thou hast spoken for us, madonna, as if 
thy eldest son should be a fool ; whose skull 120 
Jove cram with brains ! for — here he comes — 

95 zanies: inferior buffoons 97 distempered: diseased 

99 hird-bolts: blunt-headed aiTows 100 a.Uovftd: licensed 

104 Mercury: god of liars leasing: lying 



16 Twelfth Night, 

Enter Sir Toby. 

one of thy kin has a most weak pia mater. 

OIL By mine honour^ half drunk. What is 
he at the gate^ cousin ? 124 

Sir To. A gentleman. 

OIL A gentleman! what gentleman? 

Sir To. 'Tis a gentleman here, — a plague o' 
these pickle herring ! How now, sot ! 128 

Clo. Good Sir Toby. 

Oli. Cousin, cousin, how have you come so 
early by this lethargy? 

Sir To. Lechery ! I defy lechery ! There's 132 
one at the gate. 

Oli. Ay, marry, what is he? 

Sir To. Let him be the devil, an he will, I 
care not: give me faith, say I. Well, it's all one. 136 

Exit. 

Oli. What's a drunken man likcj fool? 

Clo. Like a drowned man, a fool, and a mad- 
man: one draught above heat makes him a 
fool, the second mads him, and a third drowns 140 
him. 

Oli. Go thou and seek the crowner, and let 
him sit o' my coz; for he's in the third degree 
of drink, he's drowned: go, look after him. 144 

Clo. He is but mad yet, madonna; and the 
fool shall look to the madman. [Exit.l 

Enter Malvolio. 

Mai. Madam, yond young fellow swears he will 
speak with you. I told him you were sick : he 148 
takes on him to understand so much, and there- 
fore comes to speak with you. I told him you 

122 pia mater: brain {strictly, membrane near brain) 

124 cousin: kinsman (here^ uncle) 142 crowner: coroner 



or What You Will I.v 17 

were asleep : he seems to have a foreknowledge of 
that too, and therefore comes to speak with you. 152 
What is to be said to him, lady? he's fortified 
against any denial. 

OIL Tell him he shall not speak with me. 

Mai. Ha's been told so; and he says, he'll 156 
stand at your door like a sheriff's post, and be 
the supporter to a bench, but he'll speak with 
you. 

Oli. What kind o' man is he? 160 

Mai. Why, of mankind. 

OIL What manner of man? 

Mai. Oi very ill manner: he'll speak with 
you, will you or no. 164 

OIL Of what personage and years is he ? 

Mai. Not yet old enough for a man, nor young 
enough for a boy; as a squash is before 'tis a 
peascod, or a codling when 'tis almost an apple: 168 
'tis with him in standing water, between boy 
and man. He is very well-favoured, and he 
speaks very shrewishly: one would think his 
mother's milk were scarce out of him. 172 

OIL Let him approach. Call in my gentle- 
woman. 

Mai. Gentlewoman, my lady calls. Exit. 

Enter Maria. 

OIL Give me my veil: come, throw it o'er my 
face. i'^6 

We'll once more hear Orsino's embassy. 

Enter Viola [and Attendants'^. 

157 sheriff's post: post for notices before sheriff's door 

165 personage: personal appearance 

167 squash: immature peascod 168 codhng: unrtpe apple 

169 in standing water: just at the turn of the tide 

170 we\\-ia\oured: good-looking 171 shrewishly: jawa/y 



18 Twelfth Night, 

Vio. The honourable lady of the house, 
which is she ? 

on. . Speak to me ; I shall answer for her. 180 
Your will ? 

Vio. Most radiant, exquisite, and unmatch- 
able beauty, — I pray you tell me if this be the 
lady of the house, for I never saw her : I would 184 
be loath to cast away my speech; for, besides 
that it is excellently well penned, I have taken 
great pains to con it. Good beauties, let me 
sustain no scorn; I am very comptible, even to 188 
the least sinister usage. 

Oil. Whence came you, sir? 

Vio. I can say little more than I have studied, 
and that question's out of my part. Good gentle 192 
one, give me modest assurance if you be the lady 
of the house, that I may proceed in my speech. 

on. Are you a comedian? 

Vio. No, my profound heart ; and yet, by the 196 
very fangs of malice I swear I am not that I 
play. Are you the lady of the house? 

Oil. If I do not usurp myself, I am. 

Vio. Most certain, if you are she, you do usurp 200 
yourself; for, what is yours to bestow is not 
yours to reserve. But this is from my commis- 
sion: I will on with my speech in your praise, 
and then show you the heart of my message. 204 

Oil. Come to what is important in 't : I for- 
give you the praise. 

Vio. Alas ! I took great pains to study it, and 
'tis poetical. 208 

Oli. It is the more like to be feigned: I pray 

187 con: memorise 188 comptible: sensitive 

199 usvLvy. counterfeit 202 £r om: apart from 

205 forgive: exciise 



or What You Will I.v 19 

you keep it in. I heard you were saucy at my 
gateSj and allowed your approach rather to 
wonder at you than to hear you. If you be not 212 
mad^ be gone; if you have reason, be brief: 'tis 
not that time of moon with me to make one in 
so skipping a dialogue. 

Mar. Will you hoist sail, sir } here lies your 216 
way. 

Vio. No, good swabber; I am to hull here a 
little longer. Some mollification for your giant, 
sweet lady. Tell me your mind. I am a mes- 220 
senger. 

Oli. Sure, you have some hideous matter to 
deliver, when the courtesy of it is so fearful. 
Speak your office. 224 

Vio. It alone concerns your ear. I bring no 
overture of war, no taxation of homage: I hold 
the olive in my hand; my words are as full of 
peace as matter. 228 

OIL Yet you began rudely. What are you? 
what would you ? 

Vio. The rudeness that hath appear'd in me 
have I learn'd from my entertainment. What I 232 
am, and what I would, are as secret as maiden- 
head; to your ears, divinity; to any other's, 
profanation. 

Oli. Give us the place alone: we will .hear 236 
this divinity. [Exeunt Maria and Attendants.] 
Now, sir; what is your text? 

Vio. Most sweet lady, — 

Oli. A comfortable doctrine, and much may 240 
be said of it. Where lies your text? 

215 skipping: mad 

218 swabber: one who scrubs a ship's deck hull: float 

226 taxation: c/otm 232 entertainment : Jvcg/»^to« 

233 maidenhead: maidenhood 240 comiortahle: comforting 



20 Twelfth Night, 

Vio. In Orsino's bosom. 

OIL In his bosom! In what chapter of his 
bosom ? 244 

Vio. To answer by the method, in the first of 
his heart. 

Oli. O ! I have read it : it is heresy. Have 
you no more to say.^ 248 

Vio. Good madam, let me see your face. 

Oli. Have you any commission from your 
lord to negotiate with my face.^* you are now out 
of your text : but we will draw the curtain and 252 
show you the picture. [Unveiling. ~\ Look you, 
sir, such a one I was this present : is 't not 
well done.f* 

Vio. Excellently done, if God did all. 256 

Oli. 'Tis in grain, sir, 'twill endure wind and 
weather. 

Vio. 'Tis beauty truly blent, whose red and white 
Nature's own sweet and cunning hand laid on: 260 

Lady, you are the cruell'st she alive. 
If you will lead these graces to the grave 
And leave the world no copy. 

Oli. O ! sir, I will not be so hard-hearted ; I 264 
will give out divers schedules of my beauty: it 
shall be inventoried, and every particle and 
utensil labelled to my will: as Item, Two lips, 
indifferent red ; Item^ Two grey eyes, with lids to 268 
them; Item, One neck, one chin, and so forth. 
Were you sent hither to praise me } 
Vio. I see you what you are : you are too proud ; 
But, if you were the devil, you are fair. 272 

My lord and master loves you : O ! such love 

254 this present: /t(^^ now 257 in grain: i.e., natural 

259 blent: blended 260 cunning: skilful 

261 she: woman 270 praise: appraise 



or What You Will, I.v 21 

Could be but recompens'd, though you were crown'd 
The nonpareil of beauty. 

Oli. How does he love me? 

Vio. With adorations, fertile tears^ 276 

With groans that thunder love, with sighs of fire. 

Oli. Your lord does know my mind; I cannot love 
him; 
Yet I suppose him virtuous, know him noble. 
Of great estate, of fresh and stainless youth; 280 

In voices well divulg'd, free, learn'd, and valiant ; 
And, in dimension and the shape of nature 
A gracious person ; but yet I cannot love him : 
He might have took his answer long ago. 284 

Vio. If I did love you in my master's flame, 
With such a suffering, such a deadly life. 
In your denial I would find no sense; 
I would not understand it. 

Oli. Why, what would you ? 288 

Vio. Make me a willow cabin at your gate. 
And call upon my soul within the house; 
Write loyal cantons of contemned love. 
And sing them loud even in the dead of night ; 292 

Holla your name to the reverberate hills, • 
And make the babbling gossip of the air 
Cry out, 'Olivia !' O ! you should not rest 
Between the elements of air and earth, 296 

But you should pity me ! 

Oli. You might do much. What is your parentage? 

Vio. Above my fortune, yet my state is well: 
I am a gentleman. 

Oli. Get you to your lord: 300 

I cannot love him. Let him send no more, 

281 In . . . divulg'd: well spoken of free: generous 

282 dimension: torf.v 283 gracious: full of graces 
286 deadly: deathlike 291 cantons: cantos 
293 reverberate: echoing 299 state: condition 



22 Twelfth Night, 

Unless, perchance, you come to me again, 

To tell me how he takes it. Fare you well: 

I thank you for your pains : spend this for me. 304 

Vio. I am no f ee'd post, lady ; keep your purse : 
My master, not myself, lacks recompense. 
Love make his heart of flint that you shall love. 
And let your fervour, like my master's, be 308 

Plac'd in contempt ! Farewell, fair cruelty. Exit. 

Oil. 'What is your parentage?' 
'Above my fortunes, yet my state is well : 
I am a gentleman.' I'll be sworn thou art: 312 

Thy tongue, thy face, thy limbs, actions, and spirit. 
Do give thee five-fold blazon. Not too fast: soft ! soft ! 
Unless the master were the man. How now ! 
Even so quickly may one catch the plague? 316 

Methinks I feel this youth's perfections 
With an invisible and subtle stealth 
To creep in at mine eyes. Well, let it be. 
What, ho ! Malvolio ! 

Enter Malvolio. 

Mai. Here, madam, at your service. 320 

Oli. Run after that same peevish messenger. 

The county's man : he left this ring behind him. 

Would I, or not : tell him I'll none of it. 

Desire him not to flatter with his lord, 324 

Nor hold him up with hopes : I am not for him. 

If that the youth will come this way to-morrow, 

I'll give him reasons for 't. Hie thee, Malvolio. 

Mai. Madam, I will. Exit. 328 

Oli. I do I know not what, and fear to find 

Mine eye too great a flatterer for my mind. 

305 ^ost'. messenger 314 hlazon: coat-of-arms 

315 Unless . . . man; cf. n. 321 peevish: wilful 

322 county's: count's^ 324 flatter with: hold out false hopes to 
329, 330 fear . . . mind; cf. n. 



or What You Will, II. i 23 

Fate^ show thy force : ourselves we do not owe ; 
What is decreed must be, and be this so ! 332 

Finis, Actus primus. 



ACT SECOND 

Scene One 

{The Sea-coast^ 
Enter Antonio mid Sebastian. 

Ant. Will you stay no longer? nor will you 
not that I go with you ? 

Seh. By your patience, no. My stars shine 
darkly over me; the malignancy of my fate 4 
might, perhaps, distemper yours; therefore I 
shall crave of you your leave that I may bear 
my evils alone. It were a bad recompense for 
your love to lay any of them on you. 8 

Ant. Let me yet know of you whither you 
are bound. 

Seh. No, sooth, sir: my determinate voyage 
is mere extravagancy. But I, perceive in you so 12 
excellent a touch of modesty that you will not 
extort from me what I am willing to keep in; 
therefore, it charges me in manners the rather 
to express myself. You must know of me then, 16 
Antonio, my name is Sebastian, which I called 
Roderigo. My father was that Sebastian of 
Messaline, whom I know you have heard of. He 

33i owe: own 4 ma.Ugnancy: malevolence 

5 distemper: disorder 11 sooth: in truth determinate : j^;r(7 J 

12 extravagancy: aimless wandering 

13 exceWent a touch: delicate a sense 16 express: r<?z'ca/ 



24 Twelfth Night, 

left behind him myself and a sister, both born in 20 
an hour: if the heavens had been pleased, would 
we had so ended! but you, sir, altered that; for 
some hour before you took me from the breach 
of the sea was my sister drowned. 24 

Ant. Alas the day! 

Seh. A lady, sir, though it was said she much 
resembled me, was yet of many accounted beau- 
tiful : but, though I could not with such esti- 28 
mable wonder overfar believe that, yet thus far I 
will boldly publish her: she bore a mind that 
envy could not but call fair. She is drowned 
already, sir, with salt water, though I seem to 32 
drown her remembrance again with more. 

Ant. Pardon me, sir, your bad entertainment. 
Seh. O good Antonio! forgive me your trou- 
ble! 36 

Ant. If you will not murder me for my love, 
let me be your servant. 

Seh. If you will not undo what you have 
done, that is, kill him whom you have recovered, 40 
desire it not. Fare ye well at once: my bosom 
is full of kindness; and I am yet so near the 
manners of my mother that upon the least 
occasion more mine eyes will tell tales of me. 44 
I am bound to the Count Orsino's court: fare- 
well. Exit. 
Ant. The gentleness of all the gods go with thee ! 

I have many enemies in Orsino's court, 48 

Else would I very shortly see thee there; , 

But, come what may, I do adore thee so. 

That danger shall seem sport, and I will go. Exit. 

21 an: one 28, 29 estimable wonder: admiring judgment 

35 your trouble: the trouble I have caused you 

42 ]dn6.n&?>s: tenderness 47 gentleness: grood-wtV/ 



or What You Will II. ii 25 



Scene Two 
[A Street] 

Enter Viola and Malvolio, at several doors. 

Mai. Were not you even now with the 
Countess Olivia? 

Vio. Even now, sir: on a moderate pace I 
have since arrived but hither. 4 

Mai. She returns this ring to you, sir: you 
might have saved me my pains, to have taken it 
away yourself. She adds, moreover, that you 
should put your lord into a desperate assurance 8 
she will none of him. And one thing more; that 
you be never so hardy to come again in his 
affairs, unless it be to report your lord's taking 
of this. Receive it so. 12 

Vio. She took the ring of me; I'll none of it. 
Mai. Come, sir, you peevishly threw it to 
her; and her will is it should be so returned: 
if it be worth stooping for, there it lies in your 16 
eye ; if not, be it his that finds it. Exit. 

Vio. I left no ring with her : what means this lady ? 
Fortune forbid my outside have not charm'd her ! 
She made good view of me ; indeed, so much, 20 

That sure methought her eyes had lost her tongue. 
For she did speak in starts distractedly. 
She loves me, sure; the cunning of her passion 
Invites me in this churlish messenger. 24 

None of my lord's ring ! why, he sent her none. 
I am the man : if it be so, as 'tis. 
Poor lady, she were better love a dream. 

Scene Two S. d. several doors; cf. n. 3 on: at 

8 desperate: hopeless 



26 Twelfth Night, 

Disguise, I see, thou art a wickedness, 28 

Wherein the pregnant enemy does much. 

How easy is it for the proper-false 

In women's waxen hearts to set their forms ! 

Alas ! our frailty is the cause, not we ! 32 

For such as we are made of, such we be. 

How will this f adge ? My master loves her dearly ; 

And I, poor monster, fond as much on him ; 

And she, mistaken, seems to dote on me. 36 

What will become of this ? As I am man. 

My state is desperate for my master's love; 

As I am woman, — now alas the day ! — 

What thriftless sighs shall poor Olivia breathe ! 40 

O time ! thou must untangle this, not I ; 

It is too hard a knot for me to untie. [Exit.l^ 

Scene Three 
[^ Room in Olivia's House'\ 

Enter Sir Toby and Sir Andrew. 

Sir To. Approach, Sir Andrew: not to be 
a-bed after midnight is to be up betimes; and 
diluculo surgere, thou knowest, — 

Sir And. Nay, by my troth, I know not; but 4 
I know, to be up late is to be up late. 

Sir To. A false conclusion: I hate it as an 
unfilled can. To be up after midnight and to 
go to bed then, is early; so that to go to bed 8 
after midnight is to go to bed betimes. Does 
not our life consist of the four elements .f* 

29 pregnant: ready 30 proper-false: handsome deceivers 

34 fadge: succeed 

35 monst&r: unnatural creature {i.e., in disguise) _ iond'. dote 

3 diluculo surgere [saluberrimum est] : to rise early is most healthful 
10 four elements: earth, water, fire, air 



or What You Will, II. in 27 

Sir And. Faith^ so they say; but I think it 
rather consists of eating and drinking. 12 

Sir To. Thou art a scholar; let us therefore 
eat and drink. Marian, I say ! a stoup of wine ! 

Enter Clown. 

Sir And. Here comes the fool, i' faith. 

Clo. How now, my hearts ! Did you never 16 
see the picture of 'we three' ? 

Sir To. Welcome, ass. Now let's have a 
catch. 

Sir And. By my troth, the fool has an ex- 20 
cellent breast. I had rather than forty shillings 
I had such a leg, and so sweet a breath to sing, 
as the fool has. In sooth, thou wast in very 
gracious fooling last night, when thou spokest of 24 
Pigrogromitus, of the Vapians passing the equi- 
noctial of Queubus: 'twas very good, i' faith. I 
sent thee sixpence for thy leman: hadst it.^* 

Clo. I did impeticos thy gratillity ; for Mai- 28 
volio's nose is no whipstock: my lady has a 
white hand, and the Myrmidons are no bottle- 
ale houses. 

Sir And. Excellent! Why, this is the best 32 
fooling, when all is done. Now, a song. 

Sir To. Come on; there is sixpence for you: 
let's have a song. 

Sir And. There's a testril of me too: if one 36 
knight give a — 

Clo. Would you have a love-song, or a song 
of good life } 

14 stoup: drinking cup 17 picture . . . three; cf. n. 

19 catch: song in sitccessive parts 21 hveast: voice 

25 Pigrogromitus, etc; cf. n. 27 leman: sweetheart 

28 impeticos thy gratillity: pocket thy gratuity 

36 testril: sixpence 



28 Twelfth Night, 

Sir To, A love-song, a love-song. 40 

Sir And. Ay, ay; I care not for good life. 

Clown sings. 

IClo.'i 'O mistress mine ! where are you roaming? 
O ! stay and hear ; your true love's coming, 

That can sing both high and low. 44 

Trip no further, pretty sweeting ; 
Journeys end in lovers meeting, 

Every wise man's son doth know.* 

Sir And. Excellent good, i' faith. 48 

Sir To. Good, good. 

Clo. 'What is love ? 'tis not hereafter ; 

Present mirth hath present laughter ; 

What's to come is still unsure: 52 

In delay there lies no plenty; 
Then come kiss me, sweet and twenty, 

Youth's a stuff will not endure.' 

Sir And. A mellifluous voice, as I am true 56 
knight. 

Sir To. A contagious breath. 

Sir And. Very sweet and contagious, i' faith. 

Sir To. To hear by the nose, it is dulcet in 60 
contagion. But shall we make the welkin dance 
indeed? Shall we rouse the night-owl in a catch 
that will draw three souls out of one weaver? 
shall we do that ? 64 

Sir And. An you love me, let's do't: I am 
dog at a catch. 

Clo. By'r lady, sir, and some dogs will catch 
well. 68 

54 sweet and twenty: tzventy times szveet 

61 make . . . dance: drink till the sky seems to turn round 

63 draw . . . weaver; cf. n. 66 dog: expert 

67 By'r lady: By Our Lady {Virgin Mary) 



or What You Will, II ^ in 29 

Sir And. Most certain. Let our catch be, 
*Thou knave.' 

Clo. 'Hold thy peace, thou knave/ knight? 
I shall be constrained in 't to call thee knave, 72 
knight. 

Sir And. 'Tis not the first time I have con- 
strained one to call me knave. Begin, fool: it 
begins, 'Hold thy peace.' 76 

Clo. I shall never begin if I hold my peace. 

Sir And. Good, i' faith. Come, begin. 

Catch sung. 
Enter Maria. 

Mar. What a caterwauling do you keep here! 
If my lady have not called up her steward Mai- 80 
volio and bid him turn you out of doors, never 
trust me. 

Sir To. My lady's a Catalan; we are politi- 
cians ; Malvolio's a Peg-a-Ramsey, and 'Three 84 
merry men be we.' Am not I consanguineous? 
am I not of her blood ? Tillyvally, lady ! 

'There dwelt a man in Babylon, lady, lady !' 

Clo. Beshrew me, the knight's in admirable 88 
fooling. 

Sir And. Ay, he does well enough if he be 
disposed, and so do I too: he does it with a 
better grace, but I do it more natural. 92 

Sir To. 'O ! the twelfth day of December, — ' 

Mar. For the love o' God, peace ! 

Enter Malvolio. 
Mai. My masters, are you mad? or what are 

83 Catalan: Chinese 

84 Peg-a-Ramsey: name taken from an old ballad 
84, 85 Three , . . we : a line of a popular song 

86 Tillyvally: an expression of contempt 

87 There . . . lady; c/. n. 88 Btshreyv : mild form of imprecation 



so Twelfth Night, 

you ? Have you no wit^ manners, nor honesty, 96 
but to gabble like tinkers at this time of night? 
Do ye make an alehouse of my lady's house, that 
ye squeak out your coziers' catches without any 
mitigation or remorse of voice? Is there no re- lOO 
spect of place, persons, nor time, in you? 

Sir To. We did keep time, sir, in our catches. 
Sneck up ! 

Mai. Sir Toby, I must be round with you. 104 
My lady bade me tell you, that, though she 
harbours you as her kinsman, she's nothing 
allied to your disorders. If you can separate 
yourself and your misdemeanours, you are wel- 108 
come to the house; if not, an it would please 
you to take leave of her, she is very willing to 
bid you farewell. 
Sir To. 'Farewell, dear heart, since I must needs 

be gone.' ' 112 

Mar. Nay, good Sir Toby. 
Clo. 'His eyes do show his days are almost done.' 

Mai. Is 't even so ? 
Sir To. 'But I will never die.' 116 

Clo. Sir Toby, there you lie. 

Mai. This is much credit to you. - 
Sir To. 'Shall I bid him go?' 

Clo. 'What an if you do?' 120 

aS'zV To. 'Shall I bid him go, and spare not ?' 
Clo. 'O ! no, no, no, no, you dare not.' 

Sir To. Out o' tune ! Sir, ye lie. Art any 
more than a steward? Dost thou think, because 124 
thou art virtuous, there shall be no more cakes 
and ale? 

97 tinkers: noisy tipplers 99 coziers': cobblers' 

103 Sneck up: Go, hang! 104 ronnd: plaijt 

107 disorders: misconduct 111-122 Cf. n. 
123 Outo' tune; cf. n. 



or What You Will, II, in 3i 

Clo. Yes, by Saint Anne; and ginger shall be 
hot i' the mouth too. 128 

Sir To. Thoa'rt i' the right. Go, sir, rub your 
chain with crumbs. A stoup of wine, Maria ! 

Mai. Mistress Mary, if you prized my lady's 
favour at anything more than contempt, you 132 
would not give means for this uncivil rule: she 
shall know of it, by this hand. Exit. 

Mar. Go shake your ears. 

Sir And. 'Twere as good a deed as to drink 136 
when a man's a-hungry, to challenge him the 
field, and then to break promise with him and 
make a fool of him. 

Sir To. Do 't, knight : I'll write thee a chal- 140 
lenge: or I'll deliver thy indignation to him by 
word of mouth. 

Mar. Sweet Sir Toby, be patient for to-night: 
since the youth of the count's was to-day with 144 
my lady, she is much out of quiet. For Mon- 
sieur Malvolio, let me alone with him: if I do 
not gull him into a nayword, and make him a 
common recreation, do not think I have wit 148 
enough to lie straight in my bed. I know I can 
do it. 

Sir To. Possess us, possess us; tell us some- 
thing of him. 152 

Mar. Marry, sir, sometimes he is a kind of 
puritan. 

Sir And. O ! if I thought that, I'd beat him 
like a dog. 156 

Sir To. What, for being a puritan? thy ex- 
quisite reason, dear knight ? 

130 chain: steward's badge of office 133 rule: conduct, behavior 

135 shake your ears: an expression of contempt 

147 nayword: byword 151 Possess: i«/(7rm 



32 Twelfth Night, 

Sir And. I have no exquisite reason for 't, but 
I have reason good enough. 160 

Mar. The devil a puritan that he is, or any- 
thing constantly but a time-pleaser ; an affec- 
tioned ass, that cons state without book, and 
utters it by great swarths : the best persuaded 164 
of himself; so cranuned, as he thinks, with 
excellencies, that it is his ground of faith that 
all that look on him love him; and on that 
vice in him will my revenge find notable cause 168 
to work. 

/Sir To. What wilt thou do? 

Mar. I will drop in his way some obscure 
epistles of love; wherein, by the colour of his 172 
beard, the shape of his leg, the manner of his 
gait, the expressure of his eye, forehead, and 
complexion, he shall find himself most feelingly 
personated. I can write very like my lady your 176 
niece; on a forgotten matter we can hardly 
make distinction of our hands. 

Sir To. Excellent! I smell a device. 

Sir And. I have 't in my nose too. 180 

Sir To. He shall think, by the letters that 
thou wilt drop, that they come from my niece, 
and that she's in love with him. 

Mar. My purpose is, indeed, a horse of that 184 
colour. 

Sir And. And your horse now would make 
him an ass. 

Mar. Ass, I doubt not. 188 

162 time-pleaser: timeserver affectioned: affected 

163 cons . . . book: learns by heart rtiles of decorum 

164 swarths: swaths 

164,165 best . . . himseli: having the best opinion of himself 

174 expressure: expression 175 feelingly: exactly 

188 Ass: perhaps with a play on 'as' 



or What You Will II. iv 33 

Sir And. O ! 'twill be admirable. 

Mar. Sport royal, I warrant you: I know my 
physic will work with him. I will plant you two, 
and let the fool make a third, where he shall find 192 
the letter: observe his construction of it. For 
this night, to bed, and dream on the event. 
Farewell. E^t. 

Sir To. Good night, Penthesilea. 196 

Sir And. Before me, she's a good wench. 

Sir To. She's a beagle, true-bred, and one 
that adores me: what o' that? 

Sir And. I was adored once too. 200 

Sir To. Let's to bed, knight. Thou hadst 
need send for more money. 

Sir And. If I cannot recover your niece, I 
am a foul way out. 204 

Sir To. Send for money, knight: if thou hast 
her not i' the end, call me cut. 

Sir And. If I do not, never trust me, take it 
how you will. 208 

Sir To. Come, come: I'll go burn some sack; 
'tis too late to go to bed now. Come, knight; 
come, knight. Exeunt, 

Scene Four 

[A Room in the Duhe's Palace'] 

Enter DuJce, Viola, Curio, and Others. 

Duke. Give me some music. Now, good morrow, 
friends : 
Now, good Cesario, but that piece of song, 

196 Penthesilea: Queen of the Amasons 

197 "BeioTeine: by my soul 

198 beagle: small dog, an allusion to Maria's diminutive size 

203 recover: win 206 cut: docked horse 

209 sack: Spanish wine 



34 Twelfth Night, 

That old and antique song we heard last night; 
Methought it did relieve my passion much, 4 

More than light airs and recollected terms 
Of these most brisk and giddy-paced times : 
Come; but one verse. 

Cur. He is not here, so please your lordship, 8 

that should sing it. 
Duke. Who was it? 
Cur. Feste, the jester, my lord; a fool that 

the Lady Olivia's father took much delight in. 12 

He is about the house. 

Duke. Seek him out, and play the tune the while. 

[Eojit Curio.l Music plays. 
Come hither, boy : if ever thou shalt love. 
In the sweet pangs of it remember me ; 16 

For such as I am all true lovers are : 
Unstaid and skittish in all motions else 
Save in the constant image of the creature 
That is belov'd. How dost thou like this tune? 20 

Vio. It gives a very echo to the seat 
Where love is thron'd. 

Duke. Thou dost speak masterly. 

My life upon 't, young though thou art, thine eye 
Hath stay'd upon some favour that it loves ; 24 

Hath it not, boy ? 

Vio. A little, by your favour. 

Duke. What kind of woman is 't ? 

Vio. Of your complexion. 

Duke. She is not worth thee, then. What years, 
i' faith? 

Vio. About your years, my lord. 28 

Duke. Too old, by heaven. Let still the woman take 

3 antique: quaint 5 recollected terms: studied phrases (f) ; cf. n. 

21, 22 seat . . . thron'd: the heart 24 favour: face 



or What You Will, II. iv 35 

An elder than herself, so wears she to him. 

So sways she level in her husband's heart: 

For, boy, however we do praise ourselves, 32 

Our fancies are more giddy and unfirm. 

More longing, wavering, sooner lost and worn. 

Than women's are. 

Vio. I think it well, my lord. 

Duke. Then, let thy love be younger than thyself, 36 
Or thy affection cannot hold the bent ; 
For women are as roses, whose fair flower. 
Being once display'd, doth fall that very hour. 

Vio. And so they are: alas, that they are so; 40 

To die, even when they to perfection grow ! 

Enter Curio and Clown. 

DuJce. O, fellow ! come, the song we had last 

night. 
Mark it, Cesario; it is old and plain; 
The spinsters and the knitters in the sun, 44 

And the free maids that weave their thread with bones. 
Do use to chant it: it is silly sooth. 
And dallies with the innocence of love. 
Like the old age. 48 

Clo. Are you ready, sir } 

Duke. Ay; prithee, sing. Music. 

The Song. 

[Clo.] 'Come away, come away, death. 

And in sad cypress let me be laid ; 52 

Fly away, fly away, breath; 

I am slain by a fair cruel maid. 

34 worn: consumed 37 bent: tension (as of a bow) 

44 spinsters : spinning women 45 free : carefree 

46 silly sooth: simple truth 48 old age: olden time 
52 cypress; cf. n. 



36 Twelfth Night, 

My shroud of white, stuck all with yew, 

O ! prepare it. 66 

My part of death, no one so true 
Did share it. 

Not a flower, not a flower sweet. 

On my black coffin let there be strown ; 60 
Not a friend, not a friend greet 

My poor corse, where my bones shall be 
thrown. 
A thousand thousand sighs to save. 

Lay me, O ! where 64 

Sad true lover never find my grave. 
To weep there.' 

Duke. There's for thy pains. 
Clo. No pains, sir ; I take pleasure in singing, 68 
sir. 

DuJce. I'll pay thy pleasure then. 
Clo. Truly, sir, and pleasure will be paid, one 
time or another. 72 

Duke. Give me now leave to leave thee. 
Clo. Now the melancholy god protect thee, 
and the tailor make thy doublet of changeable 
taffeta, for thy mind is a very opal ! I would have 76 
men of such constancy put to sea, that their 
business might be everything and their intent 
everywhere; for that's it that always makes a 
good voyage of nothing. Farewell. Exit. 80 

DuJce. Let all the rest give place. 

[^Exeunt Curio and Attendants.!^ 
Once more, Cesario, 
Get thee to yond same sovereign cruelty : 
Tell her, my love, more noble than the world. 
Prizes not quantity of dirty lands; 84 

76 taffeta: silk opal: stone of many colors 



or What You Will II, iv 37 

The parts that fortune hath bestow'd upon her, 

Tell her, I hold as giddily as fortune ; 

But 'tis that miracle and queen of gems 

That nature pranks her in attracts my soul. 88 

Vio. But if she cannot love you, sir ? 

Duke. I cannot be so answer'd. 

Vio. Sooth, but you must. 

Say that some lady, as perhaps there is. 
Hath for your love as great a pang of heart 92 

As you have for Olivia : you cannot love her ; 
You tell her so; must she not then be answer'd? 

DuJce. There is no woman's sides 
Can bide the beating of so strong a passion 96 

As love doth give my heart; no woman's heart 
So big, to hold so much; they lack retention. 
Alas ! their love may be call'd appetite. 
No motion of the liver, but the palate, 100 

That suffer surfeit, cloyment, and revolt ; 
But mine is all as hungry as the sea. 
And can digest as much. Make no compare 
Between that love a woman can bear me 104 

And that I owe Olivia. 

Vio. Ay, but I know, — 

Duke. What dost thou know? 

Vio. Too well what love women to men may owe : 
In faith, they are as true of heart as we. 108 

My father had a daughter lov'd a man. 
As it might be, perhaps, were I a woman, 
I should your lordship. 

Duke. And what's her history? 

Vio. A blank, my lord. She never told her love, 112 
But let concealment, like a worm i' the bud, 

86 giddily: lightly 88 pranks: adorns 

98 retention: capacity to hold 100 motion: emotion 

101 cloyment: satiety 103 compare: comparison 



38 Twelfth Night, 

Feed on her damask cheek : she pin'd in thought, 

And with a green and yellow melancholy, 

She sat like Patience on a monument, 116 

Smiling at grief. Was not this love indeed ? 

We men may say more, swear more ; but indeed 

Our shows are more than will, for still we prove 

Much in our vows, but little in our love. 120 

Duke. But died thy sister of her love, my boy? 

Vio. I am all the daughters of my father's house, 
And all the brothers too ; and yet I know not. 
Sir, shall I to this lady ? 

Duhe. Ay, that's the theme. 124 

To her in haste ; give her this j ewel ; say 
My love can give no place, bide no denay. Exeunt. 

Scene Five 

[Olivia's Garden^ 

Enter Sir Toby, Sir Andrew, and Fabian. 

Sir To. Come thy ways, Signior Fabian. 

Fab. Nay, I'll come: if I lose a scruple of 
this sport, let me be boiled to death with melan- 
choly. 4 

Sir "To. Wouldst thou not be glad to have 
the niggardly rascally sheep-biter come by some 
notable shame? 

Fab. I would exult, man: you know he 8 
brought me out o' favour with my lady about 
a bear-baiting here. 

Sir To. To anger him we'll have the bear 
again ; and we will fool him black and blue ; 12 
shall we not. Sir Andrew ? 

119 shows . . . will; cf. n. 123 yet . . . not; cf. n. 

126 denay: denial - 6 sheep-biter: cur 



or What You Will, II, v 39 

Sir And. An we do not^ it is pity of our 
lives. 

Sir To. Here comes the little villain. 16 

Enter Maria. 

How now^ my metal of India ! 

Mar. Get ye all three into the box-tree. 
Malvolio's coming down this walk: he has been 
yonder i' the sun practising behaviour to his own 20 
shadow this half-hour. Observe him^ for the 
love of mockery; for I know this letter will 
make a contemplative idiot of him. Close, in 
the name of jesting! Lie thou there: \^Throws 24: 
down a letter.'] for here comes the trout that 
must be caught with tickling. Exit. 

Enter Malvolio. 

Mai. 'Tis but fortune; all is fortune. Maria 
once told me she did affect me ; and I have 28 
heard herself come thus near, that should she 
fancy, it should be one of my complexion. Be- 
sides, she uses me with a more exalted respect 
than anyone else that follows her. What should 32 
I think on 't ? 

Sir To. Here's an overweening rogue ! 

Fab. O, peace ! Contemplation makes a rare 
turkey-cock of him: how he jets under his 36 
advanced plumes ! 

Sir And. 'Slight, I could so beat the rogue! 

Sir To. Peace ! I say. 

Mai. To be Count Malvolio ! 40 

Sir To. Ah, rogue ! 

Sir And. Pistol him, pistol him. 

17 metal oi India: precious jewel 23 Close: He close, hide 

36 jets: struts 38 'Slight: God's light! 



40 Twelfth Night, 

Sir To. Peace! peace! 

Mai. There is example for 't : the lady of 44 
the Strachy married the yeoman of the ward- 
robe. 

Sir And. Fie on him^ Jezebel ! 

Fab. O, peace! now he's deeply in; look how 48 
imagination blows him. 

Mai. Having been three months married to 
her, sitting in my state, — 

Sir To. O ! for a stone-bow, to hit him in 52 
the eye ! 

Mai. Calling my officers about me, in my 
branched velvet gown; having come from a day- 
bed, where I have left Olivia sleeping, — 56 

Sir To. Fire and brimstone ! 

Fab. O, peace ! peace ! 

Mai. And then to have the humour of state: 
and after a demure travel of regard, telling 60 
them I know my place, as I would they should 
do theirs, to ask for my kinsman Toby, — 

Sir To. Bolts and shackles ! 

Fab. O, peace, peace, peace ! now, now. 64 

MaL Seven of my people, with an obedient 
start, make out for him. I frown the while; and 
perchance wind up my watch, or play with my 
— some rich jewel. Toby approaches; curtsies 68 
there to me, — 

Sir To. Shall this fellow Hve? 

44,45 lady . . . Strachy; cf. n. 

45 yeoman of the wardrobe: regular title of office in Shakespeare's day 

47 Jezebel; cf. n. 49 blows: puffs up 

51 state: chair of state 

52 stone-bow: cross-bow for shooting stones 

55 branched: embroidered with leaves or flowers day-bed: sofa 

59 humour of state: capricious airs of authority 

60 demure . . . regard: looking about gravely 
67 play with my — ; cf. n. 



or What You Will, II. v 4i 

Fab. Though our silence be drawn from us 
with cars, yet peace! 72 

Mai. I extend my hand to him thus, quench- 
ing my familiar smile with an austere regard of 
control, — 

Sir To. And does not Toby take you a blow o' the 

lips then? 76 

Mai. Saying, 'Cousin Toby, my fortunes hav- 
ing cast me on your niece give me this preroga- 
tive of speech,' — 

Sir To. What, what? 80 

Mai. 'You must amend your drunkenness.' 

Sir To. Out, scab! 

Fah. Nay, patience, or we break the sinews 
of our plot. 84 

Mai. 'Besides, you waste the treasure of your 
time with a foolish knight,' — 

Sir And. That's me, I warrant you. 

Mai. 'One Sir Andrew,' — 88 

Sir And. I knew 'twas I; for many do call 
me fool. 

Mai. [Seeing the letter.] What employment 
have we here? 92 

Fab. Now is the woodcock near the gin. 

Sir To. O, peace! and the spirit of humours 
intimate reading aloud to him ! 

Mai. [Taking up the letter.] By my life, this 96 
is my lady's hand ! these be her very C's, her U's, 
and her T's; and thus makes she her great P's. 
It is, in contempt of question, her hand. 

Sir And. Her C's, her U's, and her T's: why lOO 
that — 

72 with cars; cf. n. 

93 yvoodcock: stupid bird, simpleton gin: trap 

99 in . . . question : past question 



42 Twelfth Night, 

Mai. {Reads. ^ *To the unknown beloved, this 
and my good wishes' : her very phrases ! By 
your leave, wax. Soft ! and the impressure her 104 
Lucrece, with which she uses to seal: 'tis my 
lady. To whom should this h^} 

Fab. This wins him, liver and all. 

Mai. 'Jove knows I love; 108 

But who? 
Lips, do not move: 
No man must know.' 
*No man must know.' What follows ? the num- 112 
bers altered! 'No man must know': if this 
should be thee, Malvolio ! 

Sir To. Marry, hang thee, brock ! 

Mai. 'I may command where I adore; 116 

But silence, like a Lucrece knife. 
With bloodless stroke my heart doth gore : 
M, O, A, I, doth sway my life.' 

Fah. A fustian riddle ! 120 

Sir To. Excellent wench, say I. 

Mai. 'M, O, A, I, doth sway my life.' Nay, 
but first, let me see, let me see, let me see. 

Fah. What dish o' poison has she dressed 124 
him! 

Sir To. And with what wing the staniel 
checks at it ! 

Mai. 'I may command where I adore.' Why, 128 
she may command me: I serve her; she is my 
lady. Why, this is evident to any formal capac- 
ity; there is no obstruction in this. And the 
end, what should that alphabetical position 132 

104 Soit: Hold! impressure: impression 

112 numbers: measure 115 hrock: badger (term of contempt) 

120 fustian: bombastic 

126 wing: impulsive flight staniel: species of hawk 

127 checks; cf. n. 130 formal capacity: one in his senses 



or What You Will II, v *3 

portend? if I could make that resemble some- 
thing in me, — Softly ! — M, O, A, I, — 

Sir To. O ! aj, make up that : he is now at a 
cold scent. 136 

Fah. Sowter will cry upon 't, for all this^ 
though it be as rank as a fox. 

Mai. M, Malvolio; M, why, that begins my 
name. 140 

Fah. Did not I say he would work it out? the 
cur is excellent at faults. 

Mai. M, — But then there is no consonancy 
in the sequel ; that suffers under probation : A 144 
should follow, but O does. 

Fah. And O shall end, I hope. 

Sir To. Ay, or I'll cudgel him, and make him 
cry, O ! 148 

Mai. And then I comes behind. 

Fah. Ay, an you had any eye behind you, 
you might see more detraction at your heels 
than fortunes before you. 152 

Mai. M, O, A, I; this simulation is not as 
the former^ and yet, to crush this a little, it 
would bow to me, for every one of these letters 
are in my name. Soft ! here follows prose. 156 

'If this fall into thy hand, revolve. In my stars 
I am above thee; but be not afraid of greatness: 
some are born great, some achieve greatness, and 
some have greatness thrust upon them. Thy Fates 
open their hands; let thy blood and spirit embrace 
them; and to inure thyself to what thou art like 
to be, cast thy humble slough, and appear fresh. 163 

137 Sowter: name of a hound 

142 faults: breaks in the line of scent 

144 ^rohation: examination 153 svamldiiion: disguise of meaning 

154 crvish.', strain 157 revolve: cow^t/^r 

163 cast . . . slough: slough off humility 



44 Twelfth Night, 

Be opposite with a kinsman^ surly with servants; 
let thy tongue tang arguments of state; put thyself 
into the trick of singularity. She thus advises thee 
that sighs for thee. Remember who commended 
thy yellow stockings^ and wished to see thee ever 
cross-gartered: I say_, remember. Go to, thou art 
made, if thou desirest to be so; if not, let me see 
thee a steward still, the fellow of servants, and not 
worthy to touch Fortune's fingers. Farewell. She 
that would alter services with thee. 

The Fortunate-Unhappy.' 

Daylight and champian discovers not more: 
this is open. I will be proud, I will read politic 176 
authors, I will baffle Sir Toby, I will wash off 
gross acquaintance, I will be point-devise the 
very man. I do not now fool myself, to let 
imagination jade me, for every reason excites to 180 
this, that my lady loves me. She did commend 
my yellow stockings of late, she did praise my 
leg being cross-gartered; and in this she mani- 
fests herself to my love, and with a kind of 184 
injunction drives me to these habits of her 
liking. I thank my stars I am happy. I will 
be strange, stout, in yellow stockings, and cross- 
gartered, even with the swiftness of putting on. 188 
Jove and my stars be praised! Here is yet a 
postscript. 

'Thou canst not choose but know who I am. If 
thou entertainest my love, let it appear in thy 
smiling; thy smiles become thee well; therefore 
in my presence still smile, dear my sweet, I prithee.' 

164 opposite: antagonistic 165 tang: twang 

169 cross-gartered; cf. n. 175 champian: champaign, open country 

176 politic: treating of statecraft 178 point-devise: exactly 

180 jade: trick 187 strange: distant stout: overbearing 



or What You Will, H. v 46 

Jove^ I thank thee. I will smile : I will do every- 
thing that thou wilt have me. Exit. 196 

Fob. I will not give my part of this sport 
for a pension of thousands to be paid from the 
Sophy. 

Sir To. I could marry this wench for this 200 
device. 

Sir And. So could I too. 

Sir To. And ask no other dowry with her 
but such another j est. 204 

Sir And. Nor I neither. 

Enter Maria. 

Fab. Here comes my noble gull-catcher. 

Sir To. Wilt thou set thy foot o' my neck? 

Sir And. Or o' mine either? 208 

Sir To. Shall I play my freedom at tray-trip, 
and become thy bond-slave? 

Sir And. V faith, or I either? 

Sir To. ^Vhy, thou hast put him in such a 212 
dream, that when the image of it leaves him he 
must run mad. 

Mar. Nay, but say true; does it work upon 
him ? 216 

Sir To. Like aqua-vitae with a midwife. 

Mar. If you will then see the fruits of the 
sport, mark his first approach before my lady; 
he will come to her in yellow stockings, and 'tis a 220 
colour she abhors; and cross-gartered, a fashion 
she detests; and he will smile upon her, which 
will now be so unsuitable to her disposition, 
being addicted to a melancholy as she is, that it 224 

199 So-phy: Shah of Persia 206 gull-catcher: ^ooZ-cafc/z^r 

209 tTay-tTip: game played zvith dice 217 aqua-vitae: fcra«rfy 



46 Twelfth Night, 

cannot but turn him into a notable contempt. 
If you will see it, follow me. 

Sir To. To the gates of Tartar, thou most 
excellent devil of wit ! 228 

Sir And. I'll make one too. Exeunt. 

Finis, Actus Secundus. 



ACT THIRD 

Scene One 

[Olivia's Garden^ 
Enter Viola, and Clown [with a tahor~\. 

Vio. Save thee, friend, and thy music. Dost 
thou live by thy tabor } 

Clo. No, sir, I live by the church. 

Vio. Art thou a churchman } 4 

Clo. No such matter, sir: I do live by the 
church; for I do live at my house, and my house 
doth stand by the church. 

Vio. So thou mayst say, the king lies by a 8 
beggar, if a beggar dwell near him; or, the 
church stands by thy tabor, if thy tabor stand 
by the church. 

Clo. You have said, sir. To see this age ! 12 
A sentence is but a cheveril glove to a good wit: 
how quickly the wrong side may be turned out- 
ward! 

Vio. Nay, that's certain: they that dally 16 

227 Tartar: Tartarus, Hell 

2 tabor : small drum, used by professional clowns 

13 cheveril: flexible kid 16 dally: play 



or What You Will III, i 47 

nicely with words may quickly make them 
wanton. 

Clo. I would therefore my sister had had no 
name, sir. 20 

Vio. Why, man? 

Clo. Why, sirj her name's a word; and to 
dally with that word might make my sister 
wanton. But indeed, words are very rascals 24 
since bonds disgraced them. 

Vio. Thy reason, man } 

Clo. Troth, sir, I can yield you none without 
words ; and words are grown so false, I am 28 
loath to prove reason with them. 

Vio. I warrant thou art a merry fellow, and 
carest for nothing. 

Clo. Not so, sir, I do care for something; but 32 
in my conscience, sir, I do not care for you: 
if that be to care for nothing, sir, I would it 
would make you invisible. 

Vio. Art not thou the Lady Olivia's fool.^ 36 

Clo. No, indeed, sir; the Lady Olivia has no 
folly: she will keep no fool, sir, till she be 
married; and fools are as like husbands as 
pilchards are to herrings — the husband's the 40 
bigger. I am indeed not her fool, but her 
corrupter of words. 

Vio. I saw thee late at the Count Orsino's. 

Clo. Foolery, sir, does walk about the orb 44 
like the sun; it shines everywhere. I would be 
sorry, sir, but the fool should be as oft with 
your master as with my mistress. I think I saw 
your wisdom there. 48 

17 nicely: subtly 24, 25 words . . . them; cf. n. 

40 pilchards : fish closely resembling herring 

44 orb: earth 46 but: if . . . not 



48 Twelfth Night, 

Vio. Nay, an thou pass upon me, I'll no more 
with thee. Hold, there's expenses for thee. 

[Gives a 'piece of money. ^ 
Clo. Now Jove, in his next commodity of 
hair, send thee a beard! 52 

Vio. By my troth, I'll tell thee, I am almost 
sick for one, though I would not have it grow 
on my chin. Is thy lady within? 

Clo. [Pointing to the coin.'} Would not a pair 56 
of these have bred, sir? 

Vio. Yes, being kept together and put to use. 
Clo. I would play Lord Pandarus of Phrygia, 
sir, to bring a Cressida to this Troilus. 60 

Vio. I understand you, sir; 'tis well begg'd. 
Clo. The matter, I hope, is not great, sir, 
begging but a beggar: Cressida was a beggar. 
My lady is within, sir. I will conster to them 64 
whence you come; who you are and what you 
would are out of my welkin; I might say 'ele- 
ment,' but the word is overworn. Ea;it. 
Vio. This fellow's wise enough to play the fool, 68 
And to do that well craves a kind of wit : 
He must observe their mood on whom he jests. 
The quality of persons, and the time. 
And, like the haggard, check at every feather 72 
That comes before his eye. This is a practice 
As full of labour as a wise man's art; 
For folly that he wisely shows is fit ; 
But wise men folly-fall'n quite taint their wit. 76 

Enter Sir Toby and Andrew. 

49 pass upon: thrust at SO expenses: a tip, pourboire 

58 use: usury 63 Cressida . . . beggar; cf. n. 

64 conster : construe, explain 66 welkin : sphere (literally, sky) 

72 haggard: wild, untrained hawk check; cf. n. on II. v. 127 

75 fit: suitable 76 folly-fall'n: when they turn to folly 



or What You Will III, i 49 

Sir To. Save you^ gentleman. 

Via. And you, sir. 

Sir And. Dieu vous garde, monsieur. 

Vio. Et vous aussi; voire serviteur. 80 

Sir And. I hope, sir, you are; and I am 
yours. 

Sir To. Will you encounter the house ? my 
niece is desirous you should enter, if your trade 84 
be to her. 

Vio. I am bound to your niece, sir: I mean, 
she is the list of my voyage. 

Sir To. Taste your legs, sir : put them to 88 
motion. 

Vio. My legs do better understand me, sir, 
than I understand what you mean by bidding 
me taste my legs. 92 

Sir To. I mean, to go, sir, to enter. 

Vio. I will answer you with gait and en- 
trance. But we are prevented. 

Enter Olivia and Gentlewoman [Maria^. 

Most excellent accomplished lady, the heavens 96 
rain odours on you ! 

Sir And. That youth's a rare courtier. 'Rain 
odours !' well. 

Vio. My matter hath no voice, lady, but to lOO 
your own most pregnant and vouchsafed ear. 

Sir And. 'Odours,' 'pregnant,' and 'vouch- 
safed.' I'll get 'em all three all ready. 

Oli. Let the garden door be shut, and leave 104 
me to my hearing. 

[Exeunt Sir Toby, Sir Andrew, and Maria.'\ 

83 encounter: approach (used affectedly') 84 trade: business 

87 list: limit, goal 88 Taste: try 

90 understand : jfand tmi^r 95 i)ve.venttd: anticipated 

101 pregnant: ready vouchsafed: condescending 



50 Twelfth Night, 

Give me your hand^ sir. 

Vio. My duty^ madam, and most humble service. 

on. What is your name? 108 

Vio. Cesario is your servant's name, fair princess. 

on. My servant, sir ! 'Twas never merry world 
Since lowly feigning was call'd compliment. 
You're servant to the Count Orsino, youth. 112 

Vio. And he is yours, and his must needs be yours : 
Your servant's servant is your servant, madam. 

on. For him, I think not on him : for his thoughts. 
Would they were blanks rather than fiU'd with me ! 116 

Vio. Madam, I come to whet your gentle thoughts 
On his behalf. 

Oli. O ! by your leave, I pray you, 

I bade you never speak again of him: 
But, would you undertake another suit, 120 

I had rather hear you to solicit that 
Than music from the spheres. 

Vio. Dear lady, — 

Oli. Give me leave, beseech you. I did send, 124 
After the last enchantment you did here, 
A ring in chase of you: so did I abuse 
Myself, my servant, and, I fear me, you : 
Under your hard construction must I sit, 128 

To force that on you, in a shameful cunning. 
Which you knew none of yours : what might you think ? 
Have you not set mine honour at the stake. 
And baited it with all th' unmuzzled thoughts 132 

That tyrannous heart can think .^ To one of your re- 
ceiving 
Enough is shown ; a cypress, not a bosom. 
Hides my heart. So, let me hear you speak. 

125 enchantment: love-charm 126 abuse: beguile 

132 baited; cf. n. 133 receiving: quick comprehension 

134 cypress: thin crape 



or What You Will III. i 5i 

Vio. I pity you. 136 

Oli. That's a degree to love. 
Vio. No^ not a grize ; for 'tis a vulgar proof 
That very oft we pity enemies. 

Oli. Why^ then methinks 'tis time to smile again. 140 

world ! how apt the poor are to be proud. 

If one should be a prey^ how much the better 
To fall before the lion than the wolf ! 

Clock strikes. 
The clock upbraids me with the waste of time. 144 
Be not afraid, good youth, I will not have you: 
And yet, when wit and youth is come to harvest. 
Your wife is like to reap a proper man : 
There lies your way, due west. 

Vio. Then westward-ho ! 148 

Grace and good disposition attend your ladyship ! 
You'll nothing, madam, to my lord by me ? 

Oli. Stay: 

1 prithee, tell me what thou think'st of me. 152 

Vio. That you do think you are not what you are. 

Oli. If I think so, I think the same of you. 

Vio. Then think you right : I am not what I am. 

Oli. I would you were as I would have you be ! 156 

Vio. Would it be better, madam, than I am ? 
I wish it might, for now I am your fool. 

Oli. O ! what a deal of scorn looks beautiful 
In the contempt and anger of his lip. 160 

A murderous guilt shows not itself more soon 
Than love that would seem hid ; love's night is noon. 
Cesario, by the roses of the spring, 
By maidhood, honour, truth, and everything, 164 

137 degree: stage 

138 grize: step vulgar proof: common experience 
148 westward-ho: a cry of the Thames boatmen 

153 That . . . are: that you think you are not in love with a woman, 
hut you are. 162 love's . . . noon; cf.n. 



52 Twelfth Night, 

I love thee so, that, maugre all thy pride, 

Nor wit nor reason can my passion hide. 

Do not extort thy reasons from this clause, 

For that I woo, thou therefore hast no cause ; 168 

But rather reason thus with reason fetter. 

Love sought is good, but giv'n unsought is better. 

Vio. By innocence I swear, and by my youth, 
I have one heart, one bosom, and one truth, 172 

And that no woman has ; nor never none 
Shall mistress be of it, save I alone. 
And so adieu, good madam: never more 
Will I my master's tears to you deplore. 176 

Oli. Yet come again, for thou perhaps mayst move 
That heart, which now abhors, to like his love. 

Exeunt. 



Scene Two 
[^ Room in Olivia's House] 

Enter Sir Toby, Sir Andrew, and Fabian. 

Sir And. No, faith, I'll not stay a jot longer. 

Sir To. Thy reason, dear venopa; give thy 
reason. 

Fab. You must needs yield your reason. Sir 4 
Andrew. 

Sir And. Marry, I saw your niece do more 
favours to the count's serving-man than ever 
she bestowed upon me ; I saw 't i' the orchard. 8 

Sir To. Did she see thee the while, old boy.^* 
tell me that. 

Sir And. As plain as I see you now. 

165 mangre: despite 168 For that: because 

8 orchard: garden 



or What You Will, 111. ii 53 

Fab. This was a great argument of love in 12 
her toward you. 

Sir And. 'Slight! will you make an ass o' 
me? 

Fab. I will prove it legitimate, sir, upon the 16 
oaths of judgment and reason. 

Sir To. And they have been grand- jurymen 
since before Noah was a sailor. 

Fab. She did show favour to the youth in 20 
your sight only to exasperate you, to awake your 
dormouse valour, to put fire in your heart, and 
brimstone in your liver. You should then have 
accosted her, and with some excellent jests, fire- 24 
new from the mint, you should have banged the 
youth into dumbness. This was looked for at 
your hand, and this was balked: the double gilt 
of this opportunity you let time wash off, and 28 
you are now sailed into the north of my lady's 
opinion; where you will hang like an icicle on 
a Dutchman's beard, unless you do redeem it 
by some laudable attempt, either of valour or 32 
policy. 

Sir And. An 't be any way, it must be with 
valour, for policy I hate: I had as lief be a 
Brownist as a politician. 36 

Sir To. Why, then, build me thy fortunes 
upon the basis of valour: challenge me the 
count's youth to fight with him; hurt him in 
eleven places : my niece shall take note of it ; 40 
and assure thyself, there is no love-broker in the 

12 argument: /'roo/ 

24 accosted: addressed fire-new: brand-new 

29-31 sailed . . . beard; cf. n. 

36 Brownist: a member of a Puritan sect 

41 love-broker: agent between lovers 



54 Twelfth Night, 

world can more prevail in man's commendation 
with woman than report of valour. 

Fah. There is no way but this. Sir Andrew. 44 

Sir And. Will either of you bear me a chal- 
lenge to him? 

Sir To. Go, write it in a martial hand; be 
curst and brief; it is no matter how witty, so 48 
it be eloquent, and full of invention: taunt him 
with the licence of ink: if thou thou'st him 
some thrice, it shall not be amiss; and as many 
lies as will lie in thy sheet of paper, although 52 
the sheet were big enough for the bed of Ware 
in England, set 'em down: go, about it. Let 
there be gall enough in thy ink, though thou 
write with a goose-pen, no matter: about it. 56 

Sir And. Where shall I find you? 

Sir To. We'll call thee at the cubiculo: go. 

Exit Sir Andrew. 

Fab. This is a dear manakin to you, Sir 
Toby. 60 

Sir To. I have been dear to him, lad, some 
two thousand strong, or so. 

Fab. We shall have a rare letter from him; 
but you'll not deliver it. 64 

Sir To. Never trust me, then; and by all 
means stir on the youth to an answer. I think 
oxen and wainropes cannot hale them together. 
For Andrew, if he were opened, and you find so 68 
much blood in his liver as will clog the foot of 
a flea, I'll eat the rest of the anatomy. 

Fab. And his opposite, the youth, bears in 
his visage no great presage of cruelty. 72 

48 curst: sharp 50 thou thou'st; c/. n. 

53 bed of Ware : famous bed, ten feet nine inches square 

58 cubiculo: chamber 67 wainropes: cart-ropes 



or What You Will, III, Hi 56 

Enter Maria. 

Sir To. Look^ where the youngest wren of 
nine comes. 

Mar. If you desire the spleen, and will laugh 
yourselves into stitches, follow me. Yond gull 76 
Malvolio is turned heathen, a very renegado; 
for there is no Christian_, that means to be saved 
by believing rightly, can ever believe such im- 
possible passages of grossness. He's in yellow 80 
stockings. 

Sir To. And cross-gartered? 

Mar. Most villainously; like a pedant that 
keeps a school i' the church. I have dogged him 84 
like his murderer. He does obey every point of 
the letter that I dropped to betray him: he 
does smile his face into more lines than are in 
the new map with the augmentation of the Indies. 88 
You have not seen such a thing as 'tis; I can 
hardly forbear hurling things at him. I know 
my lady will strike him: if she do, he'll smile 
and take 't for a great favour. 92 

Sir To. Come, bring us, bring us where he is. 

Exeunt Omnes. 

Scene Three 

[A Street] 
Enter Sebastian and Antonio. 

Seb. I would not by my will have troubled you; 
But since you make your pleasure of your pains, 
I will no further chide you. 

73, 74 youngest . . . nine; cf. n. 76 gull: dupe 

77 renegado : renegade 80 passages of grossness: acts of stupidity 

83 pedant: schoolmaster 88 new map; cf. n 



56 Twelfth Night, 

Ant. I could not stay behind you: my desire, 4 

More sharp than filed steel, did spur me forth ; 
And not all love to see you, — though so much 
As might have drawn one to a longer voyage, — 
But jealousy what might befall your travel, 8 

Being skilless in these parts ; which to a stranger, 
Unguided and unfriended, often prove 
Eough and unhospitable : my willing love. 
The rather by these arguments of fear, 12 

Set forth in your pursuit. 

Seh. My kind Antonio, 

I can no other answer make but thanks. 
And thanks, and ever thanks; for oft good turns 
Are shuffled off with such uncurrent pay: 16 

But, were my worth, as is my conscience, firm. 
You should find better dealing. What's to do? 
Shall we go see the reliques of this town ? 

Ant. To-morrow, sir: best first go see your lodg- 
ing. 20 

Seh. I am not weary, and 'tis long to night: 
I pray you, let us satisfy our eyes 
With the memorials and the things of fame 
That do renown this city. 

Ant. Would you'd, pardon me; 24 

I do not without danger walk these streets : 
Once, in a sea-fight 'gainst the Count his galleys, 
I did some service ; of such note indeed. 
That were I ta'en here it would scarce be answer'd. 28 

Seh. Belike you slew great number of his people. 

Ant. The offence is not of such a bloody nature. 
Albeit the quality of the time and quarrel 

8 jealousy: apprehension 

9 skilless: inexperienced _ 14, IS Cf. n. 
17 worth: wealth ray conscience: my consciousness of your just 

deserts 19 reliques: memorials 

29 Belike: probably 



or What You Will III. iv 57 

Might well have given us bloody argument. 32 

It might have since been answer'd in repaying 
What we took from them ; which^ for traffic's sake, 
Most of our city did: only myself stood out; 
For which, if I be lapsed in this place, 36 

I shall pay dear. 

Seb. Do not then walk too open. 

Ant. It doth not fit me. Hold, sir ; here's my purse. 
In the south suburbs, at the Elephant, 
Is best to lodge : I will bespeak our diet, 40 

Whiles you beguile the time and feed your knowledge 
With viewing of the town : there shall you have me. 

Seb. Why I your purse .f* 

Ant. Haply your eye shall light upon some toy 44 
You have desire to purchase; and your store, 
I think, is not for idle markets, sir. 

Seb. I'll be your purse-bearer and leave you 

for an hour. 48 

Ant. To the Elephant. 
Seb. I do remember. Exeunt. 



Scene Four 

[Olivia's Garden] 
Enter Olivia and Maria. 

Oli. I have sent after him: he says he'll come; 
How shall I feast him } what bestow of him ? 
For youth is bought more oft than begg'd or borrow'd. 
I speak too loud. 4 

Where is Malvolio } he is sad, and civil, 

32 hloody argument: cause for bloodshed 36 lapsed: surprised 

37 open: openly 39 Elephant: name of an inn 

1 he says: i.e., suppose he says 2 of: on 
5 sad : serious civil : well-mannered 



58 Twelfth Night, 

And suits well for a servant with my fortunes : 
Where is Malvolio? 

Mar. He's coming, madam; but in very 8 
strange manner. He is sure possess'd_, madam. 
on. Why, what's the matter .f* does he rave? 
Mar. No, madam; he does nothing but 
smile : your ladyship were best to have some 12 
guard about you if he come, for sure the man 
is tainted in's wits. 

OIL Go call him hither. \^Exit Maria.'\ 

I am as mad as he, 16 

If sad and merry madness equal be. 

Enter [Maria, with'] Malvolio. 

How now, Malvolio ! 

Mai. Sweet lady, ho, ho. 

Oli. Smil'st thou ? 20 

I sent for thee upon a sad occasion. 

Mai. Sad, lady! I could be sad: this does 
make some obstruction in the blood, this cross- 
gartering ; but what of that ? if it please the eye 24 
of one, it is with me as the very true sonnet is, 
'Please one and please all.' 

Oli. Why, how dost thou, man? what is the 
matter with thee? 28 

Mai. Not black in my mind, though yellow 
in my legs. It did come to his hands, and com- 
mands shall be executed: I think we do know 
the sweet Roman hand. 32 

Oli. Wilt thou go to bed, Malvolio? 

Mai. To bed ! ay, sweetheart ; and I'll come 
to thee. 

26 Please . . . all: title of an old ballad 

32 Roman hand : new and fashionable style of handwriting 



or What You Will, III. iv 69 

OIL God comfort thee ! Why dost thou smile 36 
so and kiss thy hand so oft? 

Mar. How do you^ Malvolio ? 

Mai. At your request! Yes; nightingales 
answer daws. 40 

Mar. Why appear you with this ridiculous 
boldness before my lady ? 

Mai. 'Be not afraid of greatness:' 'Twas 
well writ. 44 

Oli. What meanest thou by that, Malvolio? 

Mai. 'Some are born great/ — 

Oli. Ha! 

Mai. 'Some achieve greatness,' — 48 

Oli. What sayst thou? 

Mai. 'And some have greatness thrust upon 
them.' 

Oli. Heaven restore thee ! 52 

Mai. 'Remember who commended thy yellow 
stockings/ — 

Oli. Thy yellow stockings ! 

Mai. 'And wished to see thee cross-gartered.' 56 

Oli. Cross-gartered! 

Mai. 'Go to, thou art made, if thou desirest 
to be so,' — 

Oli. Am I made? 60 

Mai. 'If not, let me see thee a servant still.' 

Oli. Why, this is very midsummer madness. 

Enter Servant. 

Ser. Madam, the young gentleman of the 
Count Orsino's is returned. I could hardly 64 
entreat him back: he attends your ladyship's 
pleasure. 

Oli. I'll come to him. [Exit Servant.] 



60 Twelfth Night, 

Good Maria, let this fellow be looked to. 68 
Where's my cousin Toby? Let some of my 
people have a special care of him: I would not 
have him miscarry for the half of my dowry. 

Exit [with Maria]. 
Mai. Oh, ho ! do you come near me now ? 72 
no worse man than Sir Toby to look to me! 
This concurs directly with the letter: she sends 
him on purpose, that I may appear stubborn to 
him; for she incites me to that in the letter. 76 
'Cast thy humble slough,' says she; 'be opposite 
with a kinsman, surly with servants; let thy 
tongue tang with arguments of state; put 
thyself into the trick of singularity' ; and con- 80 
sequently sets down the manner how; as, a sad 
face, a reverend carriage, a slow tongue, in the 
habit of some sir of note, and so forth. I have 
limed her ; but it is Jove's doing, and Jove make 84 
me thankful! And when she went away now, 
'Let this fellow be looked to'; fellow! not Mal- 
volio, nor after my degree, but fellow. Why, 
everything adheres together, that no dram of 88 
a scruple, no scruple of a scruple, no obstacle, 
no incredulous or unsafe circumstance — What 
can be said.^* Nothing that can be can come 
between me and the full prospect of my hopes. 92 
Well, Jove, not I, is the doer of this, and he is 
to be thanked. 

Enter Toby, Fabian, and Maria. 

Sir To. Which way is he, in the name of 

71 miscarry: come to grief 80 consequently: accordingly 

83 sir: gentleman 84 limed: caught (as with birdlime) 

86 fellow: companion 88 adheres: accords 
90 incredulous: incredible 



or What You Will III, iv 6i 

sanctity ? If all the devils in hell be drawn in 96 
little^ and Legion himself possessed him^ yet I'll 
speak to him. 

Fab. Here he is, here he is. How is 't with 
you, sir } how is 't with you, man ? lOO 

Mai. Go off; I discard you: let me enjoy my 
private; go off. 

Mar. Lo, how hollow the fiend speaks within 
him ! did not I tell you ? Sir Toby, my lady 104 
prays you to have a care of him. 

Mai. Ah, ha ! does she so.^ 

Sir To. Go to, go to: peace! peace! we must 
deal gently with him; let me alone. How do 108 
you, Malvolio.^ how is 't with you? What, man! 
defy the devil: consider, he's an enemy to man- 
kind. 

Mai. Do you know what you saj? 112 

Mar. La you! an you speak ill of the devil, 
how he takes it at heart. Pray God, he be not 
bewitched ! 

Fab. Carry his water to the wise-woman. 116 

Mar. Marry, and it shall be done to-morrow 
morning, if I live. My lady would not lose him 
for more than I'll say. 

Mai. How now, mistress ! 120 

Mar. O Lord ! 

Sir To. Prithee, hold thy peace; this is not 
the way: do you not see you move him.f' let me 
alone with him. 124 

Fab. No way but gentleness; gently, gently: 
the fiend is rough, and will not be roughly used. 

96, 97 in little: in a small compass 97 Legion: cf. Mark 5. 9 

102 private : ^rwocy 116 water . . . wise-woman; c/. «. 

117 Marrj'^: by the Virgin Mary ^ 123 move: excite 



62 Twelfth Night, 

Sir To. Why^ how now^ my bawcock! how 
dost thou_, chuck? 128 

Mai. Sir! 

Sir To. Ajy Biddy, come with me. What, 
man! 'tis not for gravity to play at cherry-pit 
with Satan: hang him, foul collier ! 132 

Mar. Get him to say his prayers, good Sir 
Toby, get him to pray. 

Mai. My prayers, minx! 

Mar. No, I warrant you, he will not hear of 136 
godliness. 

Mai. Go, hang yourselves all! you are idle 
shallow things: I am not of your element. You 
shall know more hereafter. Exit. 140 

Sir To. Is 't possible ? 

Fab. If this were played upon a stage now, I 
could condemn it as an improbable fiction. 

Sir To. His very genius hath taken the infec- 144 
tion of the device, man. 

Mar. Nay, pursue him now, lest the device 
take air, and taint. 

Fah. Why, we shall make him mad indeed. 148 

Mar. The house will be the quieter. 

Sir To. Come, we'll have him in a. dark room, 
and bound. My niece is already in the belief 
that he's mad: we may carry it thus, for our 152 
pleasure and his penance, till our very pastime, 
tired out of breath, prompt us to have mercy on 
him; at which time we will bring the device to 
the bar, and crown thee for a finder of madmen. 156 
But see, but see. 

127 bawcock: fine fellow (Fr. 'beau coq') 128 chuck: chick 

130 Ay . . . me: perhaps a snatch of an old song 

131 cherry-pit: a game of pitching cherry stones into a small hole 

132 collier: devil {so called because of his blackness) 
ISO dark room: old-fashioned treatment of madness 



or What You Will, III. iv 63 

Enter Sir Andrew. 

Fab. More matter for a May morning. 

Sir And. Here's the challenge; read it: I 
warrant there's vinegar and pepper in 't. 160 

Fab. Is 't so saucy ? 

Sir And. Ay, is 't, I warrant him: do but 
read. 

Sir To. Give me. 'Youth, whatsoever thou 164 
art, thou art but a scurvy fellow.' 

Fab. Good, and valiant. 

Sir To. 'Wonder not, nor admire not in thy 
mind, why I do call thee so, for I will show thee 168 
no reason for 't.' 

Fab. A good note, that keeps you from the 
blow of the law. 

Sir To. 'Thou comest to the Lady Olivia, and 172 
in my sight she uses thee kindly: but thou liest 
in thy throat; that is not the matter I challenge 
thee for.' 

Fab. Very brief, and to exceeding good sense 176 
— ^less. 

Sir To. 'I will waylay thee going home; 
where, if it be thy chance to kill me, — ' 

Fab. Good. ISO 

Sir To. 'Thou killest me like a rogue and a 
villain.' 

Fab. Still you keep o' the windy side of the 
law: good. 184 

Sir To. 'Fare thee well; and God have mercy 
upon one of our souls ! He may have mercy upon 
mine, but my hope is better ; and so look to thy- 

158 for a May morning: i.e., for May-day sport 

167 admire: wonder 183 windy: safe 



64> Twelfth Night, 

self. Thy friend, as thou usest him, and thy 188 
sworn enemy, 

Andrew Aguecheek/ 

If this letter move him not, his legs cannot. 
Ill give 't him. 192 

Mar. You may have very fit occasion for 't : 
he is now in some commerce with my lady, and 
will by and by depart. 

Sir To. Go, Sir Andrew ; scout me for him at 196 
the corner of the orchard like a bum-baily: so 
soon as ever thou seest him, draw; and, as thou 
drawest, swear horrible; for it comes to pass oft 
that a terrible oath, with a swaggering accent 200 
sharply twanged off, gives manhood more ap- 
probation than ever proof itself would have 
earned him. Away ! 

Sir And. Nay, let me alone for swearing. 204 

Exit. 

Sir To. Now will not I deliver his letter: for 
the behaviour of the young gentleman gives him 
out to be of good capacity and breeding; his 
employment between his lord and my niece 208 
confirms no less: therefore this letter, being so 
excellently ignorant, will breed no terror in the 
youth: he will find it comes from a clodpole. 
But, sir, I will deliver his challenge by word of 212 
mouth; set upon Aguecheek a notable report of 
valour; and drive the gentleman, — as I know 
his youth will aptly receive it, — into a most 
hideous opinion of his rage, skill, fury, and 216 
impetuosity. This will so fright them both 

194 commerce: business 195 hy and hy: presently 

196 scout me: watch 197 hum-haily: bailiff 

211 clodpole: blockhead 



or What You Will III. iv 65 

that they will kill one another by the look, like 
cockatrices. 

Enter Olivia and Viola. 

Fab. Here he comes with your niece : give them 220 
way till he take leave^ and presently after him. 
Sir To. I will meditate the while upon some 
horrid message for a challenge. 

[Exeunt Sir Toby, Fabian, and Maria.^ 
Oli. I have said too much unto a heart of stone, 224 
And laid mine honour too unchary out : 
There's something in me that reproves my fault, 
But such a headstrong potent fault it is 
That it but mocks reproof. 228 

Vio. With the same haviour that your passion bears 
Goes on my master's griefs. 

Oli. Here; wear this jewel for me, 'tis my picture; 
Refuse it not; it hath no tongue to vex you; 232 

And I beseech you come again to-morrow. 
What shall you ask of me that I'll deny. 
That honour sav'd may upon asking give ? 

Vio. Nothing but this; your true love for my 
master. 236 

Oli. How with mine honour may I give him that 
Which I have given to you? 

Vio. I will acquit you. 

Oli. Well, come again to-morrow: fare thee well: 
A fiend like thee might bear my soul to hell. 240 

[Exit.] 
Enter Toby and Fabian. 

Sir To. Gentleman, God save thee. 
Vio. And you, sir. 

219 cockatrices: fabulous creatures, said to kill at a glance 

221 presently: immediately 225 unchary: heedlessly 

229 haviour: behavior 



66 Twelfth Night, 

Sir To. That defence thou hast, betake thee 
to 't : of what nature the wrongs are thou hast 244 
done him, I know not; but thy intercepter, 
full of despite, bloody as the hunter, attends 
thee at the orchard-end. Dismount thy tuck, be 
yare in thy preparation, for thy assailant is 248 
quick, skilful, and deadly. 

Vio. You mistake, sir: I am sure no man 
hath any quarrel to me: my remembrance is 
very free and clear from any image of offence 252 
done to any man. 

Sir To. You'll find it otherwise, I assure you: 
therefore, if you hold your life at any price, be- 
take you to your guard ; for your opposite hath 256 
in him what youth, strength, skill, and wrath, 
can furnish man withal. 

Vio. I pray you, sir, what is he ? 

Sir To. He is knight, dubbed with unhatched 260 
rapier, and on carpet consideration; but he is a 
devil in private brawl: souls and bodies hath he 
divorced three, and his incensement at this mo- 
ment is so implacable that satisfaction can be 264 
none but by pangs of death and sepulchre. Hob, 
nob, is his word : give 't or take 't. 

Vio. I will return again into the house and 
desire some conduct of the lady : I am no 268 
fighter. I have heard of some kind of men 
that put quarrels purposely on others to taste 
their valour; belike this is a man of that quirk. 

Sir To. Sir, no; his indignation derives itself 272 

246 bloody: bloodthirsty attends: awaits 

247 Dismount: rfraw tuck: rapier 24^8 yare: ready 
251 to: against 260 unhatched: unhacked 
261 on carpet consideration: i.e., a mere carpet-knight 

263 incensement: anger 

265, 266 Hob, nob: give or take {literally, have or have not) 

268 conduct: e^corf 271 qmrk: caprice 



or What You Will, HI. iv 67 

out of a very competent injury: therefore get 
you on and give him his desire. Back you shall 
not to the house^ unless you undertake that with 
me which with as much safety you might answer 276 
him: therefore^ on, or strip your sword stark 
naked; for meddle you must, that's certain, or 
forswear to wear iron about you. 

Vio. This is as uncivil as strange. I beseech 280 
you, do me this courteous office, as to know of 
the knight what my offence to him is: it is some- 
thing of my negligence, nothing of my purpose. 

Sir To. I will do so. Signior Fibian, stay 284 
you by this gentleman till my return. Ea;it Toby. 

Vio. Pray you, sir, do you know of this 
matter .f* 

Fab. I know the knight is incensed against 288 
you, even to a mortal arbitrement, but nothing 
of the circumstance more. 

Vio. I beseech you, what manner of man 
is he } 292 

Fab. Nothing of that wonderful promise, to 
read him by his form, as you are like to find him 
in the proof of his valour. He is, indeed, sir, the 
most skilful, bloody, and fatal opposite that 296 
you could possibly have found in any part of 
lUyria. Will you walk towards him? I will 
make your peace with him if I can. 

Vio. I shall be much bound to you for 't : I 300 
am one that had rather go with sir priest than 
sir knight; I care not who knows so much of 
my mettle. Exeunt. 

Enter Toby and Andrew. 
Sir To. Why, man, he's a very devil; I have 304 

278 meddle : ^g-/j^ 289 mortal arhitrement: deadly decision 



68 Twelfth Night, 

not seen such a iirago. I had a pass with him, 
rapier, scabbard and all, and he gives me the 
stuck in with such a mortal motion that it is 
inevitable; and on the answer, he pays you as 308 
surely as your feet hit the ground they step on. 
They say he has been fencer to the Sophy. 

Sir And. Pox on 't, I'll not meddle with him. 

Sir To. Ay, but he will not now be pacified: 312 
Fabian can scarce hold him yonder. 

Sir And. Plague on't; an. I thought he had 
been valiant and so cunning in fence I'd have 
seen him damned ere I'd have challenged him. 316 
Let him let the matter slip, and I'll give him 
my horse, grey Capilet. 

Sir To. I'll make the motion. Stand here; 
make a good show on 't : this shall end without 320 
the perdition of souls. — [Jsic^e.JMarry, I'll ride 
your horse as well as I ride you. 

Enter Fabian and Viola. 

[To Fabian.'] I have his horse to take up the 
quarrel. I have persuaded him the youth's a 324 
devil. 

Fab. He is as horribly conceited of him; and 
pants and looks pale, as if a bear were at his 
heels. 328 

Sir To. There's no remedy, sir: he will fight 
with you for his oath's sake. Marry, he hath 
better bethought him of his quarrel, and he finds 
that now scarce to be worth talking of : therefore 332 
draw, for the supportance of his vow: he pro- 
tests he will not hurt you. 

305 firago: virago 307 stuck: thrust 

323 ta.'k&vi'p: make up 

326 He . . , him: he has just as horrible a conception of him 

333 supportance: upholding 



or What You With III, iv 69 

Vio. [Aside.] Pray God defend me! A little 
thing would make me tell them how much I 336 
lack of a man. 

Fab. Give ground^ if you see him furious. 

Sir To. Come^ Sir Andrew, there's no remedy: 
the gentleman will, for his honour's sake, have 340 
one bout with you; he cannot by the duello 
avoid it: but he has promised me, as he is a 
gentleman and a soldier, he will not hurt you. 
Come on ; to 't. 344 

Sir And. Pray God, he keep his oath ! [Draws.], 

Vio. I do assure you, 'tis against my will. 

[Draws.] 
Enter Antonio. 

Ant. Put up your sword. If this young gentleman 
Have done offence, I take the fault on me : 348 

If you offend him, I for him defy you. [Draws.] 

Sir To. You, sir ! why, what are you ? 
Ant. One, sir, that for his love dares yet do more 
Than you have heard him brag to you he will. 352 
Sir To. Nay, if you be an undertaker, I am 
for you. [Draws.] 

Enter Officers. 

Fab. O, good sir Toby, hold! here come the 
oflBcers. 356 

Sir To. I'll be with you anon. 

Vio. [To Sir Andrew.] Pray, sir, put your 
sword up, if you please. 

Sir And. Marry, will I, sir; and, for that I 360 
promised you, I'll be as good as my word. He 
will bear you easily and reins well. 

First Off. This is the man ; do thy office. 

341 the duello: the laws of dueling 

353 undertaker: officious meddler 357 anon: immediately 



I 



70 Twelfth Night, 

Sec. Off. Antonio, I arrest thee at the suit 364 
Of Count Orsino. 

Ant. You do mistake me, sir. 

First Off. No, sir, no j ot : I know your favour well, 
Though now you have no sea-cap on your head. 
Take him away: he knows I know him well. 368 

Ant. I must obey. — [To Viola.] This comes with 
seeking you: 
But there's no remedy: I shall answer it. 
What will you do, now my necessity 
Makes me to ask you for my purse ? It grieves me 372 
Much more for what I cannot do for you 
Than what befalls myself. You stand amaz'd: 
But be of comfort. 

Sec. Off. Come, sir, away. 

Ant. I must entreat of you some of that money. 376 

Vio. What money, sir ? 
For the fair kindness you have show'd me here. 
And part, being prompted by your present trouble. 
Out of my lean and low ability 380 

I'll lend you something: my having is not much: 
I'll make division of my present with you. 
Hold, there's half my coffer. 

Ant. Will you deny me now? 

Is 't possible that my deserts to you 384 

Can lack persuasion } Do not tempt my misery, 
Lest that it make me so unsound a man 
As to upbraid you with those kindnesses 
That I have done for you. 

Vio. I know of none; 388 

Nor know I you by voice or any feature. 
I hate ingratitude more in a man 

379 part: partly 381 having: wealth 

382 present: i.e., present property 

385 lack persuasion: fail to move 386 unsound a man: unmanly 



or What You Will III Av 7i 

Than lyings vainness^ babbling drunkenness, 

Or any taint of vice whose strong corruption 392 

Inhabits our frail blood. 

Ant, O heavens themselves ! 

Sec. Off. Come, sir: I pray you, go. 

Ant. Let me speak a little. This youth that you 
see here 
I snatch'd one-half out of the jaws of death, 396 

Reliev'd him with such sanctity of love. 
And to his image, which methought did promise 
Most venerable worth, did I devotion. 

First Off. What's that to us? The time goes by: 
away ! 400 

Ant. But O ! how vile an idol proves this god. 
Thou hast, Sebastian, done good feature shame. 
In nature there's no blemish but the mind; 
None can be call'd deform'd but the unkind: 404 

Virtue is beauty, but the beauteous evil 
Are empty trunks o'erflourish'd by the devil. 

First Off. The man grows mad: away with him! 
Come, come, sir. 

Ant. Lead me on. 408 

Exit [with Officers]. 

Vio. Methinks his words do from such passion fly. 
That he believes himself; so do not I. 
Prove true, imagination, O, prove true. 
That I, dear brother, be now ta'en for you ! 412 

Sir To. Come hither, knight; come hither, 

Fabian: we'll whisper o'er a couplet or two of 

most sage saws. 

Vio. He nam'd Sebastian: I my brother know 416 

399 venerable: worthy of veneration 

402 ieature: external appearance _ 404 vinkind: unnatural 

406 o'erflourish'd: adorned with superficial carving 

410 so do not I: but I do not share his belief 

414 couplet; c/. n. - 415 saws: sayings 



72 Twelfth Night, 

Yet living in my glass ; even such and so 

In favour was my brother ; and he went 

Still in this fashion^ colour, ornament. 

For him I imitate. O ! if it prove, 420 

Tempests are kind, and salt waves fresh in love ! 

[Exit.'] 
Sir To. A very dishonest paltry boy, and more 
a coward than a hare. His dishonesty appears 
in leaving his friend here in necessity, and deny- 424 
ing him; and for his cowardship, ask Fabian. 

Fab. A coward, a most devout coward, re- 
ligious in it. 

Sir And. 'Slid, I'll after him again and beat 428 
him. 

Sir To. Do; cuff him soundly, but never 
draw thy sword. 

Sir And. An I do not, — [Exit.'] 432 

Fab. Come, let's see the event. 
Sir To. I dare lay any money 'twill be noth- 
ing yet. Exit [with Fabian]. 



ACT FOURTH 

Scene One 

[The Street adjoining Olivia's House] 

Enter Sebastian and Clown. 

Clo. Will you make me believe that I am not 
sent for you ? 

Seb. Go to, go to ; thou art a foolish fellow : 
Let me be clear of thee. 4 

417 Yet . . . glass: mirrored to the life in my person 

428 'Slid: by God's eyelid 433 event: outcome 



or What You Will IV. i 73 

Clo. Well held out, i' faith! No, I do not 
know you; nor I am not sent to you by my lady 
to bid you come speak with her; nor your name 
is not Master Cesario; nor this is not my nose 8 
neither. Nothing that is so is so. 
Seb. I prithee, vent thy folly somewhere else: 
Thou know'st not me. 

Clo. Vent my folly ! He has heard that word 12 
of some great man, and now applies it to a fool. 
Vent my folly ! I am afraid this great lubber, 
the world, will prove a cockney. I prithee now, 
ungird thy strangeness and tell me what I shall 16 
vent to my lady. Shall I vent to her that thou 
art coming? 

Seb. I prithee, foolish Greek, depart from me. 
There's money for thee: if you tarry longer 20 
I shall give worse payment. 

Clo. By my troth, thou hast an open hand. 
These wise men that give fools money get them- 
selves a good report after fourteen years' pur- 24 
chase. 

Enter Andrew, [followed by'\ Toby and Fabian. 

Sir And. Now, sir, have I met you again? 
there's for you. [Striking Sebastian.^ 

Seb. Why, there's for thee, and there, and there, 

and there! [Beating Sir Andrew.'\ 28 

Are all the people mad? 

Sir To. Hold, sir, or I'll throw your dagger 
o'er the house. 

Clo. This will I tell my lady straight. I would 32 
not be in some of your coats for twopence. [Exit.] 

10 vent: utter, display 14, 15 I . . . cockney; cf. n. 

16 ungird: relax 19 Greek: jester; cf. n. 

24 fourteen years' purchase: at a high price; cf. n. 



74 Twelfth Night, 

Sir To. [^Holding Sebastian.^ Come on, sir: 
hold. 

Sir And. Nay, let him alone; I'll go another 36 
way to work with him: I'll have an action of 
battery against him if there be any law in 
Illyria. Though I struck him first, yet it's no 
matter for that. 40 

Seb. Let go thy hand. 

Sir To. Come, sir, I will not let you go. 
Come, my young soldier, put up your iron: you 
are well fleshed; come on. 44 

Seb. I will be free from thee. [Disengaging him- 
self.] What wouldst thou now.^* 
If thou dar'st tempt me further, draw thy sword. 
Sir To. What, what! Nay then, I must have 
an ounce or two of this malapert blood from you. 48 

IDraws.] 
Enter Olivia. 

on. Hold, Toby ! on thy life I charge thee, hold ! 

Sir To. Madam! 

on. Will it be ever thus ? Ungracious wretch ! 
Fit for the mountains and the barbarous caves, 52 
Where manners ne'er were preach'd. Out of my sight ! 
Be not offended, dear Cesario. 
Rudesby, be gone ! 

[Exeunt Sir Toby, Sir Andrew, and Fabian.] 

I prithee, gentle friend. 
Let thy fair wisdom, not thy passion, sway 56 

In this uncivil and unjust extent 
Against thy peace. Go with me to my house. 
And hear thou there how many fruitless pranks 

44 fleshed: i.e., you have tasted blood enough 

55 Rudesby: rude fellow 57 extent: violence 



or What You Will IV. ii 75 

This ruffian hath botch'd up^ that thou thereby 60 

Mayst smile at this. Thou shalt not choose but go : 
Do not deny. Beshrew his soul for me^ 
He started one poor heart of mine in thee. 

Seb. What relish is in this } how runs the stream ? 64 
Or I am mad, or else this is a dream : 
Let fancy still my sense in Lethe steep ; 
If it be thus to dream, still let me sleep ! 

OIL Nay ; come, I prithee. Would thou'dst be rul'd 
by me! 68 

Seh. Madam, I will. 

Oli. O ! say so, and so be ! 

Exeunt. 

Scene Two 

[A Room in Olivia's House^ 
Enter Maria and Clown. 

Mar. Nay, I prithee, put on this gown and 
this beard; make him believe thou art Sir Topas 
the curate: do it quickly; I'll call Sir Toby the 
whilst. [Exit] 4 

Clo. Well, I'll put it on and I will dissemble 
myself in't; and I would I were the first that 
ever dissembled in such a gown. I am not tall 
enough to become the function well, nor lean 8 
enough to be thought a good student; but to be 
said an honest man and a good housekeeper 
goes as fairly as to say a careful man and a 
great scholar. The competitors enter. 12 

60 hotch'd up: patched up clumsily 62 deny: refuse 

64 What . . . this: Of what does this savor f 65 Or: either 

66 Lethe : river of oblivion 

2 Sjr: title applied to priests and curates (of. III. iv. 301) 

5 dissemble: (iu^^Mtj^ 7 tall: robust 

12 competitors: confederates 



76 Twelfth Night, 

Enter Tohy [and Muria^. 

Sir To. God bless thee. Master parson. 

Clo. Bonos dies J Sir Toby: for, as the old 
hermit of Prague, that never saw pen and ink, 
very wittily said to a niece of King Gorbodue, 16 
'That, that is, is'; so I, being Master parson, 
am Master parson; for, what is 'that' but 
'that,' and 'is' but 'is' ? 

Sir To. To him, Sir Topas. 20 

Clo. What ho! I say. Peace in this prison! 

Sir To. The knave counterfeits well; a good 
knave. 

Mai. [Within.] Who calls there.? 24 

Clo. Sir Topas, the curate, who comes to 
visit Malvolio the lunatic. 

Mai. Sir Topas, Sir Topas, good Sir Topas, 
go to my lady. 28 

Clo. Out, hyperbolical fiend! how vexest thou 
this man! Talkest thou nothing but of ladies? 

Sir To. Well said, Master Parson. 

Mai. [Within.] Sir Topas, never was man 32 
thus wronged. Good Sir Topas, do not think I 
am mad: they have laid me here in hideous 
darkness. 

Clo. Fie, thou dishonest Satan ! I call thee by 36 
the most modest terms; for I am one of those 
gentle ones that will use the devil himself with 
courtesy. Sayst thou that house is dark? 

Mai. As hell, Sir Topas. 40 

Clo. Why, it hath bay-windows transparent 
as barricadoes, and the clerestories toward the 

14 Bonos dies: good day 16 Gorbodue; cf. n. 

29 hyperbolical: diabolical 

42 barricadoes : barricades clerestories : upper lights in churches 



or What You Will, IV, ii 77 

south-north are as lustrous as ebony; and yet 
complainest thou of obstruction? 44 

Mai. I am not mad, Sir Topas. I say to you, 
this house is dark. 

Clo. Madman, thou errest: I say, there is no 
darkness but ignorance, in which thou art more 48 
puzzled than the Egyptians in their fog. 

Mai. I say this house is as dark as igno- 
rance, though ignorance were as dark as hell; 
and I say there was never man thus abused. 52 
I am no more mad than you are: make the trial 
of it in any constant question. 

Clo. What is the opinion of Pythagoras con- 
cerning wild fowl } 56 

Mai. That the soul of our grandam might 
haply inhabit a bird. 

Clo. What thinkest thou of his opinion? 

Mai. I think nobly of the soul, and no way 60 
approve his opinion. 

Clo. Fare thee well: remain thou still in 
darkness : thou shalt hold the opinion of Pythag- 
oras ere I will allow of thy wits, and fear to 64 
kill a woodcock, lest thou dispossess the soul of 
thy grandam. Fare thee well. 

Mai. Sir Topas ! Sir Topas ! 

Sir To. My most exquisite Sir Topas ! 68 

Clo. Nay, I am for all waters. 

Mar. Thou mightst have done this without 
thy beard and gown : he sees thee not. 

Sir To. To him in thine own voice, and bring 72 
me word how thou findest him: I would we were 
well rid of this knavery. If he may be con- 

49 Egyptians . . . fog; cf. Exodus lo. 21 

54 constant: consistent, logical 

69 I . . . waters: I can turn my hand to anything 



78 Twelfth Night, 

veniently delivered^ I would he were; for I am 
now so far in offence with my niece that I can- 76 
not pursue with any safety this sport to the up- 
shot. Come by and by to my chamber. 

Exit [with Maria}. 

do. *Hey Robin^ joUy Robin, 

Tell me how thy lady does.' 80 

Mai. Fool! 
Clo. *My lady is unkind, perdy !' 

Mai. Fool! 
Clo. 'Alas, why is she so.f*' 84 

Mai. Fool, I say! 
Clo. *She loves another.' 
Who calls, ha ? 

Mai. Good fool, as ever thou wilt deserve 88 
well at my hand, help me to a candle, and pen, 
ink, and paper. As I am a gentleman, I will 
live to be thankful to thee for 't. 

Clo. Master Malvolio ! 92 

Mai. Ay, good fool. 

Clo. Alas, sir, how fell you beside your five 
wits? 

Mai. Fool, there was never man so notori- 96 
ously abused: I am as well in my wits, fool, as 
thou art. 

Clo. But as well? then you are mad indeed, 
if you be no better in your wits than a fool. 100 

Mai. They have here propertied me ; keep me 
in darkness, send ministers to me, asses ! and do 
all they can to face me out of my wits. 

77 upshot: decisive shot iin archery) 

79 Hey Robin : an old ballad, to be found in Percy's 'Reliques' 
82 perdy : corruption of 'par Dieu' 

94 beside: out of five wits: common wit, imagination, fantasy, 

estimation, and memory 96 notoriously: egregiously 

101 propertied; cf. n. 



or What You Will IF. ii 79 

Clo. Advise you what you say : the minister 104 
is here. Malvolio, Malvolio, thy wits the heavens 
restore ! endeavour thyself to sleep_, and leave 
thy vain bibble-babble. 

Mai. Sir Topas ! 108 

Clo. Maintain no words with him, good 
fellow. — Who, I, sir? not I, sir. God be wi' 
you, good Sir Topas. Marry, amen. I will, sir, 
I will. 112 

Mai. Fool, fool, fool, I say! 

Clo. Alas, sir, be patient. What say you, sir? 
I am shent for speaking to you. 

Mai. Good fool, help me to some light and 116 
some paper: I tell thee I am as well in my wits 
as any man in lUyria. 

Clo. Well-a-day, that you were, sir! 

Mai. By this hand, I am. Good fool, some 120 
ink, paper, and light; and convey what I will 
set down to my lady: it shall advantage thee 
more than ever the bearing of letter did. 

Clo. I will help you to 't. But tell me true, 124 
are you not mad indeed? or do you but counter- 
feit? 

Mai. Believe me, I am not: I tell thee 
true. 128 

Clo. Nay, I'll ne'er believe a madman till I 
see his brains. I will fetch you light and paper 
and ink. 

Mai. Fool, I'll requite it in the highest 132 
degree: I prithee, be gone. 

104 Advise: take care 

105-107 Malvolio . . . bibble-babble; c/. «. 

106 endeavour thyself : fry 107 hihhle-hahhle: idle chatter 

115 shent: chidden 119 Well-a-day: alas! 



80 Twelfth Night, 

Clo. 'I am gone, sir. 

And anon, sir, 
I'll be with you again 136 

In a trice. 

Like to the old Vice, 
Your need to sustain; 

Who with dagger of lath, 140 

In his rage and his wrath. 

Cries, Ah, ah ! to the devil : 
Like a mad lad. 
Pare thy nails, dad; 144 

Adieu, goodman devil/ Exit. 



Scene Three 
[^Olivia's Garden] 
Enter Sebastian. 

Seb. This is the air; that is the glorious sun; 
This pearl she gave me, I do feel 't and see 't ; 
And though 'tis wonder that enwraps me thus. 
Yet 'tis not madness. Where's Antonio then? 4 

I could not find him at the Elephant; 
Yet there he was, and there I found this credit. 
That he did range the town to seek me out. 
His counsel now might do me golden service; 8 

For though my soul disputes well with my sense 
That this may be some error, but no madness. 
Yet doth this accident and flood of fortune 
So far exceed all instance, all discourse, 12 

That I am ready to distrust mine eyes, 

138 Vice: buffoon of the morality plays 

145 goodmdin: neighbor 6 was: had been credit: report 

12 instance: example discourse: reasoning 



or What You Will IV. Hi 8i 

And wrangle with my reason that persuades me 
To any other trust but that I am mad 
Or else the lady's mad: yet^ if 'twere so, 16 

She could not sway her house_, command her followers. 
Take and give back affairs and their dispatch 
With such a smooth, discreet, and stable bearing 
As I perceive she does. There's something in 't 20 
That is deceivable. But here the lady comes. 

Enter Olivia and Priest. 

on. Blame not this haste of mine. If you mean 
well. 
Now go with me and with this holy man 
Into the chantry by; there, before him, 24 

And underneath that consecrated roof. 
Plight me the full assurance of your faith ; 
That my most jealous and too doubtful soul 
May live at peace. He shall conceal it 28 

Whiles you are willing it shall come to note. 
What time we will our celebration keep 
According to my birth. What do you say } 

Seb. I'll follow this good man, and go with you; 32 
And, having sworn truth, ever will be true. 

Oli. Then lead the way, good father; and heavens 
so shine 
That they may fairly note this act of mine ! Exeunt. 

Finis, Actus Quartus 

18 Take . . . dispatch: take affairs in hand and dispatch them 

19 stable: steady 21 deceivable: deceptive 
24 chantry: chapel hy: near by 29 Whiles: «n<t7 
30 Wha.t: at which celebration: marriage ceremony 



82 Twelfth Night, 

ACT FIFTH 

Scene One 

l^The Street before Olivia's House^ 

Enter Clown and Fabian. 

Fab. Now, as thou lovest me, let me see his 
letter. 

Clo. Good Master Fabian, grant me another 
request. 4 

Fab. Anything. 

Clo. Do not desire to see this letter. 

Fab. This is to give a dog, and in recom- 
pense desire my dog again. 8 

Enter Duhe, Viola, Curio, and Lords. 

Duke. Belong you to the Lady Olivia, friends ? 

Clo. Ay, sir ; we are some of her trappings. 

Duhe. I know thee well: how dost thou, my 
good fellow .f* 12 

Clo. Truly, sir, the better for my foes and the 
worse for my friends. 

Duhe. Just the contrary; the %etter for thy 
friends. 16 

Clo. No, sir, the worse. 

Duhe. How can that be? 

Clo. Marry, sir, they praise me and make an 
ass of me ; now my foes tell me plainly I am an 20 
ass : so that by my foes, sir, I profit in the knowl- 
edge of myself, and by my friends I am abused: 
so that, conclusions to be as kisses, if your four 
negatives make your two affirmatives, why then, 24 

23 conclusions . . . kisses; cf. n. 



or What You Will V, i 83 

the worse for my friends and the better for my 
foes. 

DuJce. Why, this is excellent. 

Clo. By my troth, sir^ no ; though it please 28 
you to be one of my friends. 

Duke. Thou shalt not be the worse for me: 
there's gold. 

Clo. But that it would be double-dealing, sir, 32 
I would you could make it another. 

Duke. O, you give me ill counsel. 

Clo. Put your grace in your pocket, sir, for 
this once, and let your flesh and blood obey it. 36 

Duke. Well, I will be so much a sinner to be 
a double-dealer: there's another. 

Clo. Primo, secundo, tertio, is a good play; 
and the old saying is, 'the third pays for all' : 40 
the triplex f sir, is a good tripping measure; or 
the bells of Saint Bennet, sir, may put you in 
mind ; one, two, three. 

Duke. You can fool no more money out of 44 
me at this throw: if you will let your lady know 
I am here to speak with her, and bring her along 
with you, it may awake my bounty further. 

Clo. Marry, sir, lullaby to your bounty till I 48 
come again. I go, sir; but I would not have you 
to think that my desire of having is the sin of 
covetousness; but as you say, sir, let your bounty 
take a nap. I will awake it anon. Exit. 52 

Enter Antonio and Officers. 

Vio. Here comes the man, sir, that did rescue 
me. 
Duke. That face of his I do remember well ; 

35 grace: virtue 42 Saint Bennet; cf. n. 

45 throw: cast (of the dice) 



84^ Twelfth Night, 

Yet when I saw it last, it was besmear'd 56 

As black as Vulcan in the smoke of war. 

A bawbling vessel was he captain of. 

For shallow draught and bulk unprizable ; 

With which such scathful grapple did he make 60 

With the most noble bottom of our fleet. 

That very envy and the tongue of loss 

Cried fame and honour on him. What's the matter? 

First Off. Orsino, this is that Antonio 64 

That took the Phoenix and her fraught from Candy ; 
And this is he that did the Tiger board, 
When your young nephew Titus lost his leg. 
Here in the streets, desperate of shame and state, 68 
In private brabble did we apprehend him. 

Vio. He did me kindness, sir, drew on my side; 
But in conclusion put strange speech upon me: 
I know not what 'twas but distraction, 72 

DuJce. Notable pirate ! thou salt-water thief ! 
What foolish boldness brought thee to their mercies 
Whom thou, in terms so bloody and so dear. 
Hast made thine enemies } 

Ant. Orsino, noble sir, 76 

Be pleas'd that I shake off these names you give me: 
Antonio never yet was thief or pirate. 
Though I confess, on base and ground enough, 
Orsino's enemy. A witchcraft drew me hither: 80 

That most ingrateful boy there by your side. 
From the rude sea's enrag'd and foamy mouth 
Did I redeem ; a wrack past hope he was : 
His life I gave him, and did thereto add 84 

58 bawbling: insignificant 59 unprizable: valueless 

60 scathful: harmful 61 bottom: vessel 
62 tongue oiloss: voice of those who had lost 

65 fraught: freight from Candy: on her voyage from Candia (now 

Crete) 68 desperate: reckless 

69 brabble : brawl 72 distraction : madness 

75 dear: grievous 79 hase: reason 83 wrack: wreck 



or What You Will V.i 85 

My love, without retention or restraint. 

All his in dedication ; for his sake 

Did I expose myself, pure for his love, 

Into the danger of this adverse town ; 88 

Drew to defend him when he was beset: 

Where being apprehended, his false cunning. 

Not meaning to partake with me in danger, 

Taught him to face me out of his acquaintance, 92 

And grew a twenty years removed thing 

While one would wink, denied me mine own purse, 

Which I had recommended to his use 

Not half an hour before. 

Vio. How can this be? 96 

DuJce. When came he to this town? 

Ant. To-day, my lord; and for three months 
before, — 
No interim, not a minute's vacancy, — 
Both day and night did we keep company, 100 

Enter Olivia and Attendants. 

DuJce. Here comes the countess: now heaven walks 
on earth ! 
But for thee, fellow, — fellow, thy words are madness : 
Three months this youth hath tended upon me ; 
But more of that anon. Take him aside. 104 

Oli. What would my lord, but that he may not 
have. 
Wherein Olivia may seem serviceable ? 
Cesario, you do not keep promise with me. 

Vio. Madam! 108 

Duke. Gracious Olivia, — 

Oli. What do you say, Cesario? Good my lord, — 

Vio. My lord would speak ; my duty hushes me. 

85 retention: reserve 86 dedication: devotedness 

87 pure: purely 88 adverse: hostile 



86 Twelfth Night, 

on. If it be aught to the old tune, my lord, 112 

It is as fat and fulsome to mine ear 
As howling after music. 

DuJce. Still so cruel ? 

Oli. Still so constant, lord. 

DuJce. What, to perverseness ? you uncivil lady, 116 
To whose ingrate and unauspicious altars 
My soul the faithfuU'st offerings hath breath'd out 
That e'er devotion tender'd ! What shall I do ? 

Oli. Even what it please my lord, that shall become 
him. 120 

Duke. Why should I not, had I the heart to do it. 
Like to the Egyptian thief at point of death. 
Kill what I love.^ a savage jealousy 
That sometimes savours nobly. But hear me this : 124 
Since you to non-regardance cast my faith. 
And that I partly know the instrument 
That screws me from my true place in your favour. 
Live you, the marble-breasted tyrant still ; 128 

But this your minion, whom I know you love. 
And whom, by heaven I swear, I tender dearly. 
Him will I tear out of that cruel eye, 
Where he sits crowned in his master's spite. 132 

Come, boy, with me ; my thoughts ar« ripe in mischief ; 
I'll sacrifice the lamb that I do love. 
To spite a raven's heart within a dove. [Going.l 

Vio. And I, most j ocund, apt, and willingly, 136 
To do you rest, a thousand deaths would die. 

[Following.'} 

Oli. Where goes Cesario.f* 

Vio. After him I love 

More than I love these eyes, more than my life, 

113 fat: distasteful 117 ingrate: ungrateful 

122 Egyptian thief; cf, n. 125 non-regardance: disregard 

129 minion: favorite 130 tender: cherish 

137 do you rest: give you ease 



or What You Will F. i 87 

MorC; by all mores, than e'er I shall love wife. 140 

If I do feign, you witnesses above 
Punish my life for tainting of my love ! 

Oli. Ah me, detested ! how am I beguil'd ! 

Vio. Who does beguile you? who does do you 
wrong ? 144 

Oli. Hast thou forgot thyself? Is it so long? 
Call forth the holy father. [Exit an Attendant.^ 

DuJce. [To Viola.'] Come away. 

Oli. Whither, my lord? Cesario, husband, stay. 

Duke. Husband? 

Oli. Ay, husband ; can he that deny ? 148 

Duke. Her husband, sirrah ? 

Vio. No, my lord, not I. 

Oli. Alas ! it is the baseness of thy fear 
That makes thee strangle thy propriety. 
Fear not, Cesario ; take thy fortunes up ; 152 

Be that thou know'st thou art, and then thou art 
As great as that thou fear'st. . 

Enter Priest. ' 

O, welcome, father! 
Father, I charge thee, by thy reverence. 
Here to unfold, — though lately we intended 156 

To keep in darkness what occasion now 
Reveals before 'tis ripe, — what thou dost know 
Hath newly pass'd between this youth and me. 

Priest. A contract of eternal bond of love, 160 

Confirm'd by mutual joinder of your hands, 
Attested by the holy close of lips, 
Strengthen'd by interchangement of your rings ; 

142 tainting of: bringing discredit on 

151 strangle: suppress propriety: identity 

152 take . . .up: acknowledge 

153, 154 Be . . . fear'st; cf. n. 159 newly: recently 

161 ioind&x: joining 163 \ni&rch.ang&m&nt: interchange 



88 Twelfth Night, 

And all the ceremony of this compact 164 

Seal'd in my function, by my testimony: 
Since when, my watch hath told me, toward my grave 
I have travell'd but two hours. 

DuJce. O, thou dissembling cub ! what wilt thou 
be 168 

When time hath sow'd a grizzle on thy case? 
Or will not else thy craft so quickly grow 
That thine own trip shall be thine overthrow ? 
Farewell, and take her ; but direct thy feet 172 

Where thou and I henceforth may never meet. 

Vio. My lord, I do protest, — 

OIL O ! do not swear : 

Hold little faith, though thou hast too much fear. 

Enter Sir Andrew. 

Sir And. For the love of God, a surgeon! 176 
send one presently to Sir Toby. 

Oli. What's the matter? 

Sir And. He has broke my head across, and 
has given Sir Toby a bloody coxcomb too. For 180 
the love of God, your help ! I had rather than 
forty pound I were at home. 

Oli. Who has done this. Sir Andrew? 

Sir And. The count's gentleman, one Ce- 184 
sario: we took him for a coward, but he's the 
very devil incardinate. 

Duke. My gentleman, Cesario? 

Sir And. Od's lif clings ! here he is. You 188 
broke my head for nothing! and that that I did, 
I was set on to do 't by Sir Toby. 

165 function: i.e., in the discharge of my office as chaplain 

169 grizzle: grey beard case: skin 

171 trip: wrestler's trick to throw his rival 175 little: a little 

180 coxcomb: /z^ac^ 186 incardinate: i.e., incarnate 

188 Od's lif elings: Gad! iG od's lif e) 



or What You Will V, i 89 

Vio. Why do you speak to me? I never hurt you: 
You drew your sword upon me without cause ; 192 

But I bespake you fair, and hurt you not. 

Sir And. If a bloody coxcomb be a hurt, you 
have hurt me: I think you set nothing by a 
bloody coxcomb. 196 

Enter Toby and Clown. 

Here comes Sir Toby halting; 
you shall hear more: but if he had not been in 
drink he would have tickled you othergates than 
he did. 200 

DuJce. How now, gentleman ! how is 't with 
you? 

Sir To. That's all one: — has hurt me, and 
there's the end on 't. Sot, didst see Dick sur- 204 
geon, sot? 

Clo. O ! he's drunk. Sir Toby, an hour agone : 
his eyes were set at eight i' the morning. 

Sir To. Then he's a rogue, and a passy- 208 
measures pavin. I hate a drunken rogue. 

Oli. Away with him! Who hath made this 
havoc with them? 

Sir And. I'll help you. Sir Toby, because 212 
we'll be dressed together. 

Sir To. Will you help? an ass-head and a 
coxcomb and a knave, a thin-faced knave, a 
gull ! 216 

Oli. Get him to bed, and let his hurt be 
look'd to. [Exeunt Clown, Fabian, Sir Toby, 

and Sir Andrew.^ 

193 bespake you fair: spoke kindly to you 197 halting: limping 

199 othergates i otherwise • 206 agone: ago 

207 set: glassy from drink 

208, 209 passy-measures pavin: a grave, stately dance with eight 
{note I. 207) bars to each strain of music 



90 Twelfth Night, 

Enter Sebastian, 

Seb. I am sorry^ madam, I have hurt your kinsman; 
But, had it been the brother of my blood, 220 

I must have done no less with wit and safety. 
You throw a strange regard upon me, and by that 
I do perceive it hath offended you : 
Pardon me, sweet one, even for the vows 224 

We made each other but so late ago. 

Duke. One face, one voice, one habit, and two per- 
sons; 
A natural perspective, that is, and is not ! 

Seb. Antonio ! O my dear Antonio ! 228 

How have the hours rack'd and tortur'd me 
Since I have lost thee ! 

Ant. Sebastian are you? 

Seb. Fear'st thou that, Antonio? 

Ant. How have you made division of yourself? 232 
An apple cleft in two is not more twin 
Than these two creatures. Which is Sebastian? 

Oli. Most wonderful! 

Seb. Do I stand there? I never had a brother; 236 
Nor can there be that deity in my nature. 
Of here and everywhere. I had a sister. 
Whom the blind waves and surges have devour'd. 
Of charity, what kin are you to me ? 240 

What countryman? what name? what parentage? 

Vio. Of Messaline : Sebastian was my father ; 
Such a Sebastian was my brother too. 
So went he suited to his watery tomb. 244 

If spirits can assume both form and suit. 
You come to fright us. 

221 wit and safety: wise regard for safety 

222 strange: estranged regard: look 

227 perspective: deception (literally, instrument producing optical illu- 
sions) 237, 238 Nor . . . everywhere; cf. n. 
240 Of : for the sake of 244 suited : dressed 



or What You With V. i 9i 

Seb. A spirit I am indeed; 

But am in that dimension grossly clad 
Which from the womb I did participate. 248 

Were you a woman, as the rest goes even^ 
I should my tears let fall upon your cheek, 
And say, 'Thrice welcome, drowned Viola !' 

Vio. My father had a mole upon his brow. 252 

Seb. And so had mine. 

Vio. And died that day when Viola from her birth 
Had number'd thirteen years. 

Seb. O ! that record is lively in my soul. 256 

He finished indeed his mortal act 
That day that made my sister thirteen years. 

Vio. If nothing lets to make us happy both 
But this my masculine usurp'd attire, 260 

Do not embrace me till each circumstance 
Of place, time, fortune, do cohere and jump 
That I am Viola: which to confirm, 
I'll bring you to a captain in this town, 264 

Where lie my maiden weeds : by whose gentle help 
I was preserv'd to serve this noble count. 
All the occurrence of my fortune since 
Hath been between this lady and this lord. 268 

Seb. [To Olivia.'] So comes it, lady, you have been 
mistook : 
But nature to her bias drew in that. 
You would have been contracted to a maid; 
Nor are you therein, by my life, deceiv'd, 272 

You are betroth'd both to a maid and man. 

DuJce. Be not amaz'd; right noble is his blood. 
If this be so, as yet the glass seems true, 

247 dimension: bodily shape 248 participate: possess as others do 

249 goes even : a^re^^ 256 record: memory 

259 lets: hinders 262 jump: agree 

265 weeds: garments 267 All the occurrence: the whole course 

270 bias: weighted side of a bowl; cf. n. 27 S glass; cf. n. 



92 Twelfth Night, 

I shall have share in this most happy wrack. 276 

[To Viola.'] Boy, thou hast said to me a thousand 

times 
Thou never shouldst love woman like to me. 

Vio. And all those sayings will I over-swear^ 
And all those swearings keep as true in soul 280 

As doth that orbed continent the fire 
That severs day from night. 

Duke. Give me thy hand; 

And let me see thee in thy woman's weeds. 

Vio. The captain that did bring me first on shore 284 
Hath my maid's garments : he upon some action 
Is now in durance at Malvolio's suit, 
A gentleman and follower of my lady's. 

Oli. He shall enlarge him. Fetch Malvolio 
hither. 288 

And yet, alas, now I remember me. 
They say, poor gentleman, he's much distract. 
A most extracting frenzy of mine own 
From my remembrance clearly banish'd his. 292 

Enter Clown with a letter^ and Fabian. 

How does he, sirrah .f* 

Clo. Truly, madam, he holds Belzebub at the 
stave's end as well as a man in his case may do. 
He has here writ a letter to you : I should have 296 
given it to you to-day morning; but as a mad- 
man's epistles are no gospels, so it skills not 
much when they are delivered. 

Oli. Open it, and read it. 300 

Clo. Look then to be well edified, when the 
fool delivers the madman. 

279 ow&r-s-w&dLT: swear over again 281 orbed continent: jm« 

288 enlarge: set at liberty 

291 extracting: drawing every object, save one, out of memory 
294,295 at . . . enA: i.e., at arm's length 298 skiWs: matters 

302 die\iw&vs'. utters the ideas of 



or What You Will, V. i 93 

'By the Lord, madam, — ' 

OIL How now ! art thou mad ? 304 

Clo. No, madam, I do but read madness: an 
your ladyship will have it as it ought to be, you 
must allow vox. 

Oil. Prithee, read i' thy right wits. 308 

Clo. So I do, madonna; but to read his right 
wits is to read thus: therefore perpend, my 
princess, and give ear. 

on. [To Fabian.] Read it you, sirrah. 312 

Fah. 'By the Lord, madam, you wrong me, 
and the world shall know it: though you 
have put me into darkness, and given your 
drunken cousin rule over me, yet have I the 316 
benefit of my senses as well as your ladyship. 
I have your own letter that induced me to the 
semblance I put on; with the which I doubt not 
but to do myself much right, or you much shame. 320 
Think of me as you please. I leave my duty a 
little unthought of, and speak out of my injury. 
The Madly-Used Malvolio.' 

OIL Did he write this ? 324 

Clo. Ay, madam. 
Duke. This savours not much of distraction. 
OIL See him deliver'd, Fabian; bring him hither. 

[Exit Fabian.l 
My lord, so please you, these things further thought 

on, 328 

To think me as well a sister as a wife, 
One day shall crown the alliance on 't, so please you. 
Here at my house and at my proper cost. 

Duke. Madam, I am most apt to embrace your 

offer. 332 

307 vox: loud voice 310 perpend: attend 

327 deUver'd: set free 331 proper: own 332 apt: ready 



P4> Twelfth Night, 

[To Viola.'] Your master quits you; and, for your 

service done him, 
So much against the mettle of your sex, 
So far beneath your soft and tender breeding; 
And since you call'd me master for so long, 336 

Here is my hand : you shall from this time be 
Your master's mistress. 

Oli. A sister ! you are she. 

Enter Malvolio [with Fabian]. 

DuJce. Is this the madman .f' 

Oli. Ay, my lord, this same. 

How now, Malvolio ! 

Mai. Madam, you have done me wrong, 340 

Notorious wrong. 

Oli. Have I, Malvolio? no. 

Mai. Lady, you have. Pray you peruse that letter. 
You must not now deny it is your hand: 
Write from it, if you can, in hand or phrase, 344 

Or say 'tis not your seal nor your invention: 
You can say none of this. Well, grant it then. 
And tell me, in the modesty of honour. 
Why you have given me such clear lights of 
favour, 348 

Bade me come smiling and cross-garter'd to you. 
To put on yellow stockings, and to frown 
Upon Sir Toby and the lighter people; 
And, acting this in an obedient hope, 352 

Why have you suffer'd me to be imprison' d. 
Kept in a dark house, visited by the priest. 
And made the most notorious geek and gull 
That e'er invention play'd on.f* tell me why. 356 

333 quits: releases 334 mettle: temperament 

344 from it: differently 351 lighter: inferior in position 

355 geek: dupe 356 iriYention: plotting 



or What You Will, V, i 95 

OIL Alas ! Malvolio, this is not my writing. 
Though, I confess, much like the character ; 
But, out of question, 'tis Maria's hand: 
And now I do bethink me, it was she 360 

First told me thou wast mad; then cam'st in smiling. 
And in such forms which here were presuppos'd 
Upon thee in the letter. Prithee, be content: 
This practice hath most shrewdly pass'd upon 
thee ; 364 

But when we know the grounds and authors of it. 
Thou shalt be both the plaintiff and the judge 
Of thine own cause. 

Fab. Good madam, hear me speak. 

And let no quarrel nor no brawl to come 368 

Taint the condition of this present hour, 
Which I have wonder'd at. In hope it shall not, 
Most freely I confess, myself and Toby 
Set this device against Malvolio here, 372 

Upon some stubborn and uncourteous parts 
We had conceiv'd against him. Maria writ 
The letter at Sir Toby's great importance; 
In recompense whereof he hath married her. 376 

How with a sportful malice it was follow'd. 
May rather pluck on laughter than revenge. 
If that the injuries be justly weigh'd 
That have on both sides past. 380 

OIL Alas, poor fool, how have they baffled thee ! 

Clo. Why, 'some are born great, some achieve 
greatness, and some have greatness thrown upon 
them.' I was one, sir, in this interlude; one Sir 384 
Topas, sir; but that's all one. 'By the Lord, 

361 cam'st: thou earnest 362 presuppos'd: suggested 

364 practice: fnc^ 373 Upon: in consequence of 

374 conceiv'd: taken to heart 375 importance: importunity 

378 pluck on: excite 381 haffied: treated contemptuously 



96 Twelfth Night, 

fool, I am not mad.' But do you remember? 

'Madam, why laugh you at such a barren rascal? 

an you smile not, he's gagged' : and thus the 388 

whirligig of time brings in his revenges. 

Mai. I'll be reveng'd on the whole pack of you. 

[Exit.'] 

on. He hath been most notoriously abus'd. 

DuJce. Pursue him, and entreat him to a peace ; — 392 
He hath not told us of the captain yet : 
When that is known and golden time convents, 
A solemn combination shall be made 
Of our dear souls. Meantime, sweet sister, 396 

We will not part from hence. Cesario, come; 
For so you shall be, while you are a man; 
But when in other habits you are seen, 
Orsino's mistress, and his fancy's queen. 400 

Exeunt [all except Clown]. 

Clown sings. 

'When that I was and a little tiny boy. 
With hey, ho, the wind and the rain; 

A foolish thing was but a toy. 

For the rain it raineth every day. 404 

But when I came to man's estate. 

With hey, ho, the wind and the rain; 

'Gainst knaves and thieves men shut their gates. 
For the rain it raineth every day. 408 

But when I came, alas ! to wive, 

With hey, ho, the wind and the rain; 

By swaggering could I never thrive. 

For the rain it raineth every day. 412 

394 convents: is convenient 

401 and: used redundantly as in old ballads 



or What You Will, V, i 97 

But when I came unto my beds. 

With hey, ho, the wind and the rain; 

With toss-pots still had drunken heads. 

For the rain it raineth every day. 416 

A great while ago the world begun. 
With hey, ho, the wind and the rain; 

But that's all one, our play is done, 

And we'll strive to please you every day.' 420 

FINIS 



NOTES 

I. ii. 40-42. And might not be deliver'd to the 
world . . . What my estate is. Might not have my 
real identity divulged till I had made it opportune to 
do so. 

I. ii. 60. eunuch . . . mute. Well-known func- 
tionaries in oriental courts. Viola^ however, changes 
her mind and assumes the character of a page. 

I. iii. 28. viol-de-gamhoys. Sir Toby's perversion 
of viol da gamba, an instrument like a violoncello. 

I. iii. 31. natural. A play on the meanings 'by 
nature' and like a born fool.' 

I. iii. 45. parish-top. 'A large top was formerly 
kept in every village, to be whipped in frosty weather, 
that the peasants might be kept warm by exercise, 
and out of mischief, while they could not work. 
(Steevens.) 

I. iii. 46. Castiliano vulgo. Probably Spanish of 
Sir Toby's own coinage, meaning possibly, put on a 
distinguished manner. 

I. iii. 75, 76. bring your hand to the buttery-bar 
and let it drink. Ale was dispensed from the buttery 
as food from the pantry. Kenrick asserts that the first 
six words were 'a proverbial phrase among forward 
Abigails, to ask at once for a kiss and a present.' A 
dry hand (line 79) was a sign of age or infirmity. 
Desdemona has a moist hand because 'It yet has felt 
no age nor known no sorrow' (^Othello, III. iv. 38). 

I. iii. 102, 103. Then hadst thou had an excellent 
head of hair. Probably a pun on 'tongues' (line 99) 
and 'tongs' (curling tongs). 

I. iii. 115. The count. Orsino, who is called duke 
and count indifferently in the play. Possibly the in- 
consistency is due to contamination of two different 
versions of the comedy in the Folio text. 



Twelfth Night, or What You Will 99 

I. iii. 127, 128. yet I will not compare with an old 
man. On consideration Sir Andrew modestly limits 
his profession of superiority first to those who are not 
his superiors in rank and then to those who are not his 
elders. 

I. iii. 137. Mistress Mall's picture. Mall, or 
Malkin, was from the time of Chaucer and Langland 
a proverbial name for a common woman, whose 
picture no man would respect. 

I. iii. 149. horn under Taurus. Actually in al- 
manacs, which continue the old astrological theory of 
medicine, the sign of Taurus governs the neck and 
throat. Sir Andrew and Sir Toby are therefore both 
wrong. 

I. V. 6. fear no colours. A proverbial phrase, 
meaning to have no fear, fear the flag of no enemy. 
The same pun on 'colours' and 'collars' (of the hang- 
man) occurs in 2 He7i. IV., V. v. 91-94. 

I. V. 26. if one hreah. A play upon the word 
points, meaning the laces with metal ends that at- 
tached doublet and gaskins. 

I. V. 55-57. As there is no true cucJcold, etc. Feste 
is intent only on keeping up a rattling fire of nonsense 
to ward off Olivia's attack. 

I. V. 315. Unless the master were the man. Un- 
less Orsino and his servant could change places. 

I. V. 329, 330. fear . . . mind. Fear that love at 
first sight ran away with my sober judgment. 

II. ii. S. d. at several doors. The normal Eliza- 
bethan stage had two doors, right and left, with a 
third possible one through the curtains under the 
balcony. The conventional direction of modern 
editors, 'Enter Viola, Malvolio following,' misrep- 
resents the manner in which Shakespeare intended 
the meeting to take place. 

II, iii. 17. the picture of 'we three.' 'A common 
sign, in which two wooden heads are exhibited, with 



100 Twelfth Night, 

this inscription under it: '^We three loggerheads be." 
The spectator or reader is supposed to make the third/ 
(Malone.) 

II. iii. 25. Pigrogromitus, etc. In the same vein as 
the reference to Quinapalus^ I. v. 38. Leigh Hunt 
paraphrases the nonsense about the Vapians and the 
equinoctial of Queubus as 'some glorious torrid zone, 
lying beyond three o'clock in the morning.' 

II. iii. 63. draw three souls out of one weaver. 
Weavers vrere proverbially noted for their singing, 
especially of psalms. 

II. iii. 87. There dwelt a man in Babylon, lady, 
lady! A line from the old ballad of Susanna, alluded 
to by Mercutio in Romeo and Juliet, II. iv. 152. 

II. iii. 111-122. Farewell, dear heart, etc. Snatches 
from a song included in Robert Jones's Boohe of 
Ayres, 1601. 

II. iii. 123. Out o' tune. Theobald's change of 
'tune' to 'time,' to echo Malvolio's word (line 101), 
has been f ollovred by many editors. Furness defends 
the Folio reading since Feste has interpolated an 
extra 'no' which breaks the original metre of the song. 

II. iv. 5. recollected terms. 'Recollected' is vari- 
ously glossed as 'studied,' 'repeated,' 'refined,' 'trivial.' 
Orsino seems to contrast the light, popular songs 
(such as Sir Toby's catches) with an old-fashioned 
melody. 

II. iv. 52. cypress. Probably a coffin of cypress 
wood. In III. i. 134 cypress evidently has the mean- 
ing of thin crape, and it is here sometimes inter- 
preted as a shroud of cypress (crape) ; but the 'black 
cofl&i' (line 60) seems to give the clue to the present 
meaning. 

II. iv. 119. Our shows are more than will. Our 
love manifests itself more in external appearances 
than in constancy of will. 

II. iv. 123. yet I know not. Viola bethinks her- 



or What You Will loi 

self of the possibility that her brother may still be 
alive. 

II. V. 44^ 45. the lady of the Strachy. A famous 
crux, still unexplained. The lady's name may or may 
not have been invented by the poet. Webster's 
tragedy^ The Duchess of Malfl, deals with a great 
Italian lady who married the steward of her house- 
hold. 

II. V. 47. Jezebel. Sir Andrew, whose knowledge 
both of the Bible and of womankind is limited, uses 
Jezebel as a general term of reproach. 

II. V. 67. play with my — . Malvolio is probably 
fingering his steward's chain, but then abruptly re- 
members that he will have discarded this badge of 
his present office. 

II. V. 72. with cars. This is the First Folio read- 
ing, but many emendations have been proposed, in- 
cluding Hanmer's 'by th' ears,' which has been fre- 
quently followed. 

II. V. 127. checks. 'A term in falconry, applied to 
a hawk when she forsakes her proper game, and fol- 
lows some other of inferior kind that crosses her in 
her flight.' 

II. V. 169. cross-gartered. An ostentatious style 
of wearing garters crossed above and below the knee. 

III. i. 24, 25. words are very rascals since bonds 
disgraced them. A man's word is not as good as his 
bond nowadays. Insistence on the bond has brought 
the mere word into disrepute. 

III. i. 63. Cressida was a beggar. According to a 
development of Chaucer's story, she finally became a 
leper and begged by the roadside. Another allusion 
to this fate is found in Henry V, II. i. 80: 'the lazar 
kite of Cressid's kind.' 

III. i. 132. baited. The reference is to the popu- 
lar sport of bear-baiting. Cf. I. iii. 100. 



102 Twelfth Night, 

III. i. 162. love's night is noon. Love seeking to 
conceal itself is plain as noonday. 

III. ii. 29-31. sailed into the north . . . Dutch- 
man's heard. This has been rather unnecessarily ex- 
plained as a reference to the discovery of Northern 
Nova Zembla by the Dutchman Barentz in 1596. 

III. ii. 50j 51. if thou thou'st him some thrice. 
The familiar second person singular might imply con- 
tempt. Sir Walter Raleigh, at his trial in 1603, was 
thus insulted by the Attorney General Coke: 'AH that 
he did was at thy instigation, thou viper; for I thou 
thee, thou traitor.' 

III. ii. 73, 74. the youngest wren of nine. Theo- 
bald has been followed by most modern editors, 
though after much doubt and discussion, in reading 
nine for the Folio mine. The wren lays nine or ten 
eggs at a time, and the ninth fledgling of the brood 
would be superlatively small. 

III. ii. 88. the new map with the augmentation of 
the Indies. A new map, containing more detailed 
information about the East Indies than had previously 
been accessible, was published about 1599. The allu- 
sion is of some value in dating the play. 

III. iii. 14, 15. I can no other answer make but 
thanhSf And thanks, and ever thanks. Thanks, many 
times repeated, are the only return I can make for 
your benefits. 

III. iv. 116. Carry his water to the wise-woman. 
I.e., let the local wise-woman diagnose his case. 

III. iv. 414, 415. a couplet or two of most sage 
saws. Couplet is usually glossed 'couple,' but couplet 
seems suggested by Antonio's previous sententious 
couplets (lines 403-406). 

IV. i. 14, 15. I am afraid this great lubber, the 
world, will prove a cockney. I am afraid that the 
world, stupid lout though it is, will prove affected and 
foppish. 



or What You Will 103 

IV. i. 19. foolish Greek. 'Merry Greek' was a 
proverbial name for a jester and practical joker. But 
it is quite possible that Sebastian used the word here 
seriously to describe Feste's Illyrian nationality. 

IV. i. 24. fourteen years' purchase. The term is 
taken from land transactions. In Shakespeare's time 
the current price was twelve years' purchase ; i.e._, the 
land would be valued at twelve times the annual yield. 

IV. ii. 16. Gorhoduc. A mythical British king, 
whose story was dramatized in the earliest regular 
English tragedy (by Sackville and Norton, 1561). 

IV. ii. 101. propertied. Perhaps an allusion to 
stage 'properties' which, as Collier suggests, 'when 
out of use, were thrust into some dark loft or lumber- 
room.' The words 'here' and 'in darkness' in the con- 
text support this interpretation. 

IV. ii. 105-107. Malvolio . . . hihhle-hahhle. The 
clown here impersonates Sir Topas, as he does again 
in the first part of his next speech. 

V. i. 23. conclusions to he as hisses. 'As in the 
syllogism it takes two premises to make one conclu- 
sion, so it takes two people to make one kiss.' (Cam- 
bridge editors.) Compare the Clown's similar 
syllogistic joking in I. v. 51 ff. 

V. i. 42. the bells of Saint Bennet. Though the 
scene is supposed to be lUyria, it is likely that Shake- 
speare and his auditors thought of the London church 
of St. Benedict, or Bene't, at Paul's Wharf (later 
destroyed in the great fire of 1666). 

V. i. 122. Like to the Egyptian thief. The robber 
Thyamis in the Greek romance of Theagenes and 
Chariclea, of which an English translation appeared 
in 1587. 

V. i. 153, 154. Be that thou knotv'st thou art, and 
then thou art As great as that thou fear'st. Assume 
your just dignity as my husband and you will be the 
equal of Orsino. 



104 Twelfth Night, or What You Will 

V. i. 237, 238. Nor can there he that deity in my 
nature. Of here and everywhere. Nor is it possible 
that my identity should reproduce itself in a Proteus- 
like manner, here, there, and everywhere; i.e., that 
doubles should spring up about me. 

V. i. 270. nature to her bias drew in that. A figure 
from the popular game of bowling. Nature is com- 
pared to a 'bowl,' a round wooden ball in which a lump 
of lead is so placed as to draw it out of a straight 
course, when rolled on the ground, into an apparently 
erratic but really inevitable 'bias.' 

V. i. 275. glass. The perspective glass alluded to 
in line 227. Orsino half believes that what he sees is 
not actual, but a delusion such as magicians' glasses 
create. 



APPENDIX A 
Sources of the Play 

Under date of February 2, 1601-2, a London law 
student of the Middle Temple, John Manningham, 
made this entry in his Diary : 'At our feast wee had a 
play called "Twelue Night, or What you Will," much 
like the Commedy of Errores, or Menechmi in Plau- 
tus, but most like and neere to that in Italian called 
Inganni/ This single sentence anticipates, at least 
roughly, the general trend of later critical investiga- 
tion of the sources of the main plot of Twelfth Night. 
Definite features of that story are certainly present 
alike in Latin comedy and sixteenth- century Italian 
drama. As Manningham suggests, Shakespeare in 
one of his earliest plays. The Comedy of Errors, had 
already used the theme of mistaken identity on which 
the Mencechmi of Plautus is essentially based. In 
several plays of Terence and Plautus, furthermore, 
the complications due to woman's disguise in man's 
dress suggest a general dramatic situation which be- 
came popular with writers of the Renaissance and was 
shaped to his own ends by Shakespeare in The Two 
Gentlemen of Verona and in ^* You LiJce it. 

Manningham recognized not merely general resem- 
blances between Twelfth Night and Latin comedy 
but a more immediate connection with Italian drama. 
Investigation of his reference to the play 'in Italian 
called Inganni' [The Cheats] has resulted in the dis- 
covery of two Italian comedies with that title — one, 
by Nicolo Secchi, acted in 1547, and printed at Flor- 
ence in 1562; the other, by Curzio Gonzaga, printed 
at Venice in 1592. In both, the complications of the 
plot turn on the resemblance of a brother and sister 
clad in man's attire. 'The name assumed by the lady 
in disguise in Gonzaga's play,' says Hunter, 'is 



106 Twelfth Night, 

Cesare, which will be easily admitted to have sug- 
gested the name Cesario in Shakespeare. Beyond 
this_, however, the resemblance is not striking.' 

Hunter, however, discovered an earlier Italian 
comedy, GV Ingannati [The Deceived], which 
seemed to him unquestionably the real Italian 
source of Shakespeare's plot. Acted as early as 1531, 
by a literary society of Siena, it was first printed at 
Venice in 1537. In its main outlines it resembles 
Twelfth Night, containing counterparts to the char- 
acters of Viola, Sebastian, Orsino, and Olivia. In its 
humorous and farcical elements have sometimes been 
found other foreshadowings in character and situation 
of Shakespeare's comedy, but many of the alleged 
resemblances — such as that between the pedant Piero 
and Malvolio — seem vague and inconclusive. The 
popularity of GV Ingannati is shown both by the fre- 
quency of Italian editions and by its translation into 
French, Spanish, and Latin. A Latin version, based 
apparently on a French translation rather than on the 
Italian original, was acted at Queens' College, Cam- 
bridge', under the title of Lcelia, probably in 1595, 
possibly in 1598^at all events, but a few years before 
the production of Twelfth Night. Even Shake- 
speare's 'small Latin' might have sufficed to interpret 
some of the essential situations of the Latin text, or 
he might have heard general reports of the Cam- 
bridge performance. Recent positive assertion that 
Lcelia is 'the undoubted immediate source of Shake- 
speare's Twelfth Night' seems, however, to lack proof 
equally positive. 

As early as 1753, Mrs. Charlotte Lennox suggested 
the similarity between Twelfth Night and one of the 
stories in Bandello's collection of tales (1554). A 
French version by Belleforest of Bandello's story 
seems, in turn, to have inspired an English rendering 
by Barnabe Riche. Riche, by birth a 'gentleman,' by 



or What You Will 107 

profession a soldier, by instinct a man of letters, pub- 
lished in 1581 a volume entitled 'Riche, his Farewell 
to Militarie Profession: conteining verie pleasaunt 
discourses fit for a peaceable tyme. Gathered to- 
gether for the onely delight of the courteous Gentle- 
women bothe of England and Irelande, For whose 
onely pleasure thei were collected together, And unto 
whom they are directed and dedicated, by Barnabe 
Riche, Gentleman.' The second of these 'discourses' is 
the story of Apolonius and Silla. Though the names 
of the characters are changed, and the scene shifted 
from Italy to Constantinople, the plot of Riche's story 
is essentially that of earlier versions. On account of 
its coarseness. Dr. Furness rejected the usual con- 
clusion that Shakespeare was directly indebted to 
Apolonius and Silla. But Shakespeare needs no de- 
fence if his subtle alchemy transmuted base metal into 
gold. The process is unquestionably reversed in 
Wycherley's Plain Dealer (1674) which debases ma- 
terial of the Olivia- Viola plot taken from Twelfth 
Night. 

The 'Argument' of Apolonius and Silla is as fol- 
lows: 'Apolonius Duke, havyng spent a yeres service 
in the warres against the Turke, returning homeward 
with his companie by sea, was driven by force of 
weather to the He of Cypres, where he was well re- 
ceived by Pontus, gouvernour of the same ile, with 
whom Silla, daughter to Pontus, fell so straungely in 
love, that after Apolonius was departed to Constan- 
tinople, Silla, with one man, followed, and commyng 
to Constantinople, she served Apolonius in the habite 
of a manne, and after many prety accidentes falling 
out, she was knowne to Apolonius, who, in requitall of 
her love, maried her.' Comparison of Riche's narra- 
tive with Shakespeare's drama reveals essential simi- 
larities and naturally many minor differences of plot. 
Apolonius, like Orsino, is a 'noble duke' with whom' 



108 Twelfth Night, 

Silla (Viola) falls hopelessly in love. But in Riche's 
story the actual shipwreck of the heroine occurs in the 
course of her love-chase after Apolonius to Constan- 
tinople and frees her from the violent importunities 
of the ship's captain during the voyage. In Twelfth 
Night Viola's captain is no longer persecutor but 
protector. 

The following passage from Apolonius and Silla} 
recounting Silla's experiences after her shipwreck will 
sufficiently suggest the general relation of Riche's 
story to Shakespeare's main plot. 'Silla her self 
beying in the Caben as you have heard, tooke holde of 
a Chest that was the Captaines, the whiche by the 
onely prouidence of God brought her safe to the shore, 
the which when she hed recouered, not knowyng what 
was become of Pedro her manne, she deemed that 
bothe he and all the rest had been drouned, for that 
she saw no bodie vppon the shore but her self, where- 
fore, when she had a while made greate lamentations, 
complainyng her mishappes, she beganne in the ende 
to comforte herselfe with the hope, that she had to 
see her Apolonius, and found such meanes that she 
brake open the Chest that brought her to lande, 
wherin she found good store of coine, and sondrie 
sutes of apparell that were the captaines, and now to 
preuent a nomber of iniuries, that might bee proffered 
to a woman that was lefte in her case, she determined 
to leaue her owne apparell, and to sort her self into 
some of those sutes, that beyng taken for a man, she 
might passe through the Countrie in the better safetie, 
& as she changed her apparell, she thought it likewise 
conuenient to change her name, wherefore not readily 
happenyng of any other, she called her self Siluio, by 
the name of her owne brother, whom you haue heard 
spoken of before. 

1 The text foUov/s the edition of 1581 reproduced in the 
first volume of W. C. HazUtt's Shakespeare^s Library. 



or What You Will 109 

*In this maner she trauailed to Constantinople, 
where she inquired out the Palace of the Duke Apolo- 
nius, and thinking her self now to be both fitte and 
able to plaie the seruing-man^ she presented her self to 
the duke crauyng his seruice, the duke verie willyng 
to giue succour vnto strangers, perceiuyng him to bee 
a proper smogue young man, gaue hym entertainment : 
Silla thought her self now more then [than] satisfied 
for all the casualties that had happened vnto her in 
her iourney, that she might at her pleasure take but 
the vew of the Duke Apolonius, and aboue the reste 
of his seruauntes was verie diligent and attendaunt 
vppon hym, the whiche the Duke perceiuyng, beganne 
likewise to growe into good likyng with the diligence 
of his man, and therefore made hym one of his 
Chamber, who but Siluio then was moste neate about 
hym, in helpyng of hym to make hym readie in a 
mornyng[,] in the settyng of his ruffes, in the keep- 
yng of his Chamber, Siluio pleased his maister so well 
that aboue all the reste of his seruantes aboute him, 
he had the greatest credite, and the Duke put him 
moste in trust. 

'At this verie instaunt, there was remainyng in the 
Cittie a noble Dame a widowe, whose houseband was 
but lately deceased, one of the noblest men that were 
in the partes of Grecia, who left his Lady and wife 
large possessions and greate liuinges. This Ladies 
name was called lulina, who besides the aboundance 
of her wealth, and the greatnesse of her reuenues, had 
likewise the soueraigntie of all the Dames of Con- 
stantinople for her beautie. To this Ladie lulina, 
Apolonius became an earnest suter, and accordyng to 
the maner of woers, besides faire woordes, sorrowfull 
sighes, and piteous countenaunces, there must bee 
sendyng of louyng letters, Chaines, Bracelets, 
Brouches, Rynges, Tablets, Gemmes, Juels, and pres- 
entes I knowe not what: So my Duke, who in the 



110 Twelfth Night, 

tyme that he remained in the He of Cypres, had no 
skill at all in the arte of Loue, although it were more 
then half proffered vnto hym, was now become a 
scholler in Loues Schoole, and had alreadie learned 
his first lesson, that is, to speak pitifully, to looke 
ruthfuUy, to promise largely, to serue diligently, and 
to please carefully: Now he was learnyng his seconde 
lesson, that is to reward liberally, to giue bountifully, 
to present willyngly, and to write lovyngly. Thus 
Apolonius was so busied in his newe studie, that I 
warrant you there was no man that could chalenge 
hym for plaiyng the truant, he followed his profession 
with so good a will: And who must bee the messenger 
to Carrie the tokens and loue letters, to the Ladie 
lulina, but Siluio his manne, in hym the Duke reposed 
his onely confidence, to goe betweene hym and his 
Ladie. 

'Now gentilwomen, doe you thinke there coulde 
haue been a greater torment devised wherewith to 
afflicte the harte of Silla, then her self to bee made the 
instrumente to woorke her owne mishapp, and to plaie 
the Atturney in a cause, that made so muche againste 
her self. But Silla altogether desirous to please her 
maister, cared nothyng at all to offende her selfe, fol- 
lowed his businesse with so good a will, as if it had 
been in her owne preferment. 

'lulina now hauyng many tymes, taken the gaze of 
this yong youth Siluio, perceiuing hym to bee of suche 
excellente perf ecte grace, was so intangeled with the 
often sight of this sweete temptation, that she fell 
into as greate a likyng with the man, as the maister 
was with her self: And on a tyme Siluio beyng sent 
from his maister, with a message to the Ladie lulina, 
as he beganne very earnestly to solicet in his maisters 
behalf e, lulina interruptyng hym in his tale, saied: 
Siluio it is enough that you haue saied for your 
maister, from henceforthe either speake for your 



or What You Will m 

self, or sale nothyng at all. Silla abashed to heare 
these wordes, began in her minde to accuse the blind- 
nesse of Loue, that lulina neglectyng the good will of 
so noble a Duke_, woulde preferre her love vnto suche 
a one, as Nature it self had denaied to recompence 
her likyng/ 

Investigation of the sources of Twelfth Night has 
included the examination of various other works such 
as the eighth novel of the fifth decade of Cinthio's 
Hecatommithi (1565), Montemayor's Diana Enamo- 
rada, of which an English version appeared in 1598, 
Sidney's Arcadia (1590), and a comedy called Tu- 
gend- und Liehesstreit, presented in 1608 by a com- 
pany of English actors in Austria and conceivably a 
German version of a lost English play based on Apo- 
lonius and Silla. Detailed analysis of such possible 
source-material of Twelfth Night concerns chiefly the 
specialist. The general reader will doubtless be con- 
tent with the conjecture that Shakespeare knew more 
than a single version of a story popular in Italian 
comedy and tale, reproduced in various Continental 
translations, and known in England through its Latin 
dramatization at Cambridge and its English narrative 
rendering by Riche. 

Apart from the romantic main plot, the characters 
and scenes of Twelfth Night are original with Shake- 
speare. The humors of Malvolio, Sir Toby, and Sir 
Andrew, the 'very gracious fooling' of Feste, and the 
arch-conspiracy of the little villain' Maria are alike 
Shakespeare's inventions. But though, like Fabian, 
the reader 'will not give his part of this sport for a 
pension of thousands to be paid from the Sophy,' he 
may perhaps question whether in reality Shake- 
speare's creative genius is more clearly shown in the 
subplot of his own invention than in the main plot 
which he borrowed to transform. 



APPENDIX B 

The History of the Play 

The earliest definite account of the performance of 
Twelfth Night is given, under date of February 2, 
1601-2, in the diary of John Manningham, of the 
Middle Temple, London: 

'At our feast wee had a play called "Twelue Night, 
or What you Will," much like the Commedy of 
Errores, or Menechmi in Plautus, but most like and 
neere to that in Italian called Inganni. A good prac- 
tise in it to make the Steward beleeve his lady widowe 
was in love with him, by counter fey ting a letter as 
from his Lady in generall termes, telling him what 
shee liked best in him, and prescribing his gesture in 
smiling, his apparaile, etc., and then when he came to 
practise making him beleeue they tooke him to be 
mad.' 

The reference to Olivia as a 'widowe' may be due 
to Manningham's faulty recollection of the exact 
cause of her mourning or to possible variations in 
Shakespeare's original text from that later estab- 
lished in the Folio of 1623. This latter theory may 
perhaps gain color from the fact that, in Riche's 
Apolonius and Silla, Julina (Olivia) is represented as 
in mourning for her deceased husband. 

Twelfth Night is not among the plays of Shake- 
speare listed by Meres in 1598. Manningham's ex- 
plicit account of the plot points to the probable 
novelty of the comedy when it was chosen for pro- 
duction at the Middle Temple, though it by no means 
establishes that performance as actually the earliest. 
It has been conjectured that Shakespeare himself 
may have played the part either of Malvolio or of 
Orsino at the Middle Temple festival. Manning- 



Twelfth Night, or What You Will us 

ham's recognition of the importance of the role of 
Malvolio is supported by other early evidence. Sir 
Henry Herbert records that on Candlemas Day 
(February 2), 1623, 'Malvolio was acted at Court by 
the King's Servants.' The title Twelfe Night in the 
copy of the Second Folio owned by Charles I was 
altered to Malvolio. In the Commendatory verses 
which Leonard Digges prefixed to the 1640 edition 
of Shakespeare's poems are these lines: 

'The Cockpit Galleries, Boxes, all are full 
To hear Maluoglio that crosse garter'd Gull.* 

The importance of Malvolio as a stage-character is 
thus a long established tradition. The popularity of 
Twelfth Night at court as well as with the general 
public is attested not merely by the reference in Her- 
bert's Record but by a manuscript entry of the Audit 
Office which shows that John Hemminge, later one of 
two editors of the First Folio, presented the comedy 
before James I on Easter Monday, 1618. 

After the reopening of the theatres in 1660, 
Twelfth Night resumed its place on the English 
stage. Pepys gives three characteristic references to 
it in his Diary under dates of September 11, 1661, 
January 6, 1662-3, and January 20, 1668-9. On the 
first occasion the attraction of a 'new play' was irre- 
sistible though he 'took no pleasure at all in it' and 
'went home with my mind troubled for my going 
thither, after my swearing to my wife that I would 
never go to a play without her.' His freer judgment 
on the second occasion held that the comedy was 
'acted well, though it be but a silly play, and not re- 
lated at all to the name or day.' John Downes in his 
Roscius Anglicanus (1708) says that the play 'had 
mighty Success by its well Performance' — ^with 
Thomas Betterton as Sir Toby, and Harris as Sir 
Andrew — but declares that 'it was got up on purpose 



114 Twelfth Night, 

to be Acted on Twelfth Night/ The final dictum of 
Pepys on Twelfth Night as revived in 1669 was, 'one 
of the weakest plays that ever I saw on the stage.' 

The not infrequent comment that Twelfth Night 
escaped the perversion so frequently visited on Shake- 
speare's plays by Restoration adapters apparently 
neglects Wycherley's abuse of the Viola-Olivia theme 
in The Plain Dealer (1674)). Wycherley's Fidelia is 
a debased Viola, his Olivia a wanton who sullies her 
borrowed name. But despite his disfigurement of 
character and incident, Wycherley has not defaced his 
great originals beyond recognition. Early in the 
eighteenth century, Charles Burnaby, a playwright 
devoid of Wycherley's undeniable dramatic vigor and 
vitality, followed him in borrowing from Twelfth 
Night. Love Betray'd, or the Agreeable Disappoint- 
ment, produced at Lincoln's Inn Fields Theatre in 
1703, took from Shakespeare's comedy its main inci- 
dents and characters and, according to Burnaby's own 
preface, 'about 50 of the Lines.' He adds: 'Those 
that are his, I have mark'd with Inverted Commas, to 
distinguish 'em from mine. I endeavoured where I 
had occasion to introduce any of 'em, to make 'em 
look as little like Strangers as possible.' With equal 
courtesy Burnaby strove to set at ease Shakespeare's 
characters in the novel depths to which he made them 
descend. Viola and Sebastian retain their names, but 
the others are more happily, though but partially, 
shielded by new masks for old faces. A confidant for 
Viola and a servant for Sebastian are generously sup- 
plied, and the uneasy distinctions of rank and title 
are thoughtfully minimized in the poverty of dialogue 
common to all the characters. Apart from the actual 
verbal borrowings from Shakespeare's text, the con- 
sistency with which Burnaby 'transprosed' Twelfth 
Night will not be questioned seriously. Happily 
Burnaby's piece failed to gain the success which was 



or What You Will lis 

unworthily won by various similar perversions of 
other plays of Shakespeare. 

During the eighteenth century^ revivals of Twelfth 
Night became increasingly popular. In the 1741 pro- 
duction at Drury Lane, Charles Macklin appeared as 
Malvolio, Mrs. Pritchard as Viola, Woodward as Sir 
Andrew Aguecheek, and 'Kitty' Clive as Olivia. On 
April 15, 1746, Mrs. Woffington — lovely Peggy' — 
acted Viola for the first time, with Macklin and Mrs. 
Clive in their previous roles, and Neale replacing 
Woodward as Sir Andrew. At the Haymarket 
Theatre in 1782, Bensley was Malvolio and Palmer Sir 
Toby Belch. In the Drury Lane production of 1785 
they retained the same parts, Dodd acted Sir Andrew, 
'Dicky' Suett the Clown, and Mrs. Jordan, for the 
first time, Viola. Their impersonation of these parts 
has been fixed as a stage tradition for the readers of 
Charles Lamb's Elia essay. On Some of the Old 
Actors. Before the close of the century both John 
Kemble and 'Jack' Bannister played Malvolio. 

Early in the nineteenth century. Twelfth Night 
shared in the popularity of John Kemble's Shake- 
spearean revivals at Covent Garden Theatre. Al- 
though Barrymore reappeared as Orsino, the cast 
was essentially changed from that of Elia's fondest 
memories. Liston played Malvolio, Blanchard Sir 
Andrew, Emery Sir Toby, Fawcett the Clown, Mrs. 
S. Booth Viola, and Mrs. C. Kemble Olivia. Kemble's 
acting text transposes the first two scenes of the play 
and introduces, as Genest notices, 'several names 
which Shakespeare never dreamt of — among them 
Roberto, a decided 'sea-change' for Viola's Captain. 
But to the adaptation and adequate presentation of 
Twelfth Night Kemble brought his customary powers 
of dramatic craftsmanship and a spirit of essential 
respect for Shakespeare's text. 

This respect, unhappily, was not shared by Fred- 



116 Twelfth Night, 

erick Reynolds^ who^ in 1820^ inspired with the zeal 
of his previous similar attacks upon A Midsummer 
Night's Dream and The Comedy of Errors, brought 
out at Covent Garden an operatic version of Twelfth 
Night. Leigh Hunt, indeed, reviewed the perform- 
ance with evident delight in the scenery and 'the 
lyrification of this delightful play' and an uneasy 
conscience at the 'pickings and stealings' from Shake- 
speare which he could not quite bring himself to re- 
sent properly. That task, however, was assumed by 
the Reverend John Genest with whole-hearted satis- 
faction: 'In the Devil's name, why does not Reynolds 
turn his own plays into Operas ? — does he think them 
so bad, that even with such music as he has put into 
Twelfth Night, they would not prove successful? — or 
has he such a fatherly affection for his own offspring, 
that he cannot find it in his heart to mangle them?' 

Since the days of John Kemble, performances of 
Twelfth Night have been too numerous to note in de- 
tail. In the season of 1850-1, it was Charles Kean's 
most popular success at the Princess's Theatre. In 
1865 Miss Kate Terry doubled the parts of Viola and 
Sebastian in the attempt to solve one of the practical 
difficulties of stage production. The Lyceum revival 
of 1884 was marked by Irving's appearance as Mal- 
volio, with Miss Ellen Terry as Viola. Among more 
recent productions on the English professional stage 
have been those of Sir J. Forbes-Robertson, Sir Her- 
bert Tree, and the Birmingham Repertory Theatre. 
Outdoor performances of Twelfth Night, such as 
those of Ben Greet' s company, have been frequent. 

Twelfth Night was produced in the United States 
as early as 1794, when it was given in Boston. Its 
most noteworthy American associations have perhaps 
been with such interpretations of the part of Viola as 
those of Adelaide Neilson, Madame Modjeska, and 



or What You Will ii7 

Ada Rehan. During the winter of 1917-18 a French 
translation of the play was successfully given in New 
York at the theatre of Le Vieux Colombier. Of re- 
cent university productions may be noted two in June, 
1921 — one at Oxford University, in the Garden of 
Wadham College, the other by the Yale Dramatic 
Association at its Commencement performance. 



APPENDIX C 
The Text 

The earliest known text of Twelfth Night is that 
of the First Folio of 1623. 

The text of the present edition is by permission 
that of Craig's Oxford Shakespeare, published by the 
Oxford University Press. Deviations from the Ox- 
ford text have been made in a few places, usually to 
restore the reading of the First Folio. Minor changes 
of spelling and punctuation have generally not been 
listed. 

The stage directions are those of the First Folio. 
The usual modern additions of place of scene and 
other supplementary directions have been enclosed in 
square brackets. 

The list of departures from the Oxford text fol- 
lows, Craig's readings being those after the colons : 

I. ii. 4 you, sailors : you sailors 
16 so, there's: so there's 
54 an: a 

* ,g2 for — ^here he comes — one: for here comes one 

134 Oli.'.Clo. 

221 Tell me your mind. I am a messenger: (di- 
vided between OIL and Vio. in Craig) 
254 this present: as this present 



118 Twelfth Night, or What You Will 



276 


fertile: with fertile 


325 


I am: I'm 


II. iii. 11 


but I think: but, I think. 


123 


tune: time 


166 


excellencies : excellences 


183 


she's: she is 


V.218 


wiU: will. 


III. i. 50 
135 


expenses: sixpence 
Hides: Hideth 


iii. 29 
iv. 333 


people.: people? 
draw,: draw 


383 


there's : there is 


IV. ii. 145 


devil: drivel 


V. i. 52 
59 


nap.: nap, 
bulk: hulk 


102 


fellow, — : fellow; 


109 


Olivia, — : Olivia. — 


203 


— has hurt: he has hurt 


386 


mad.' But: mad:' But 



APPENDIX D 
Suggestions for Collateral Reading 

William Hazlitt : Characters of Shahespear's Plays, 
1817. (In Vol. I of A. R. Waller and Arnold 
Glover's edition of Hazlitt's Works, 1902.) 

Charles Lamb: On Some of the Old Actors, in 
Essays of Elia. 

Canon Ainger: Shakespeare in the Middle Temple, 
in English Illustrated Magazine, 1884, pp. 366-376. 

William Winter: Twelfth Night [account of Augus- 
tin Daly's revival] and Ada Rehan as Viola, in Shad- 
ows of the Stage, Third Series, 1895, pp. 20-46. 

Horace Howard Furness: Twelfe Night, or. What 
you will. Vol. XIII of Variorum edition of Shake- 
speare, 1901. 

G. C. Moore Smith: Lcelia, a comedy acted at 
Queens' College, Cambridge, probably on March 1st, 
1595 (Cambridge University Press, 1910). 

Morton Luce: Rich's 'Apolonius ^ Silla,' an origi- 
nal of Shakespeare's 'Twelfth Night,' in Shakespeare 
Classics, 1912. [This contains a good survey of the 
source material in general, with the exception of 
Montemayor.] 

Jorge de Montemayor: Diana Enamorada (story of 
The Shepherdess Felismena, in W. C. Hazlitt's 
Shakespeare's Library, 1875, Vol. I, pp. 275-312). 

M.P.Tilley: The Organic Unity of Twelfth Nighty 
in Publications of the Modern Language Association, 
1914, pp. 550-566. 



INDEX OF WORDS GLOSSED 

(Figures in full-faced type refer to page-numbers) 



abatement: 1 (I. i. 13) 
abuse: 50 (III. 1. 126) 
accosted: 53 (III. ii. 24) 
adheres: 60 (III. iv. 88) 
admire: 63 (III. iv. 167) 
adverse: 85 (V. i. 88) 
advise: 79 (IV. ii. 104) 
affectioned: 32 (II. iii. 162) 
agone: 89 (V. i. 206) 
all the occurrence: 91 (V. i. 

267) 
allow: 5 (I. ii. 57) 
allowed: 15 (I. v. 100) 
an (if): 5 (I. iii. 12) 
an (one): 24 (II. i. 21) 
and: 96 (V. i. 401) 
anon: 69 (III. iv. 357) 
antique: 34 (II. iv. 3) 
apt: 93 (V. i. 332) 
aqua-vitae: 45 (II. v. 217) 
argument: 53 (III. ii. 12) 
as horribly conceited of him: 

68 (III. iv. 326) 
ass: 32 (II. iii. 188) 
at the stave's end: 92 (V. i. 

294, 295) 
attends: 66 (III. iv. 246) 

back-trick: 9 (I. iii. 133) 
baffled: 95 (V. i. 381) 
baited: 50 (III. i. 132) 
barful: 11 (I. iv. 41) 
barren: 14 (I. v. 89) 
barricadoes: 76 (IV. ii. 42) 
base: 84 (V. i. 79) 
bawbHng: 84 (V. i. 58) 
bawcock: 62 (III. iv. 127) 
beagle: 32 (II. iii. 198) 
become: 4 (I. ii. 52) 
bed of Ware: 54 (III. ii. 
53) 



before me: 32 (II. iii. 197) 
beUke: 56 (III. iii. 29) 
bent: 35 (II. iv. 37) 
beshrew: 29 (II. iii. 88) 
beside: 78 (IV. ii. 94) 
bespake you fair: 89 (V. i. 

193) 
best persuaded of himself: 

32 (II. iii. 164, 165) 
bias: 91 (V. i. 270) 
bibble-babble: 79 (IV. ii. 

107) 
bird-bolts: 15 (I. v. 99) 
blazon: 22 (I. v. 314) 
blent: 20 (I. v. 259) 
bloody: 66 (III. iv. 246) 
bloody argument: 57 (III. 

iii. 32) 
blows: 40 (II. V. 49) 
bonos dies: 76 (IV. ii. 14) 
botch'd up: 75 (IV. i. 60) 
botcher: 13 (I. v. 50) 
bottom: 84 (V. i. 61) 
brabble: 84 (V. i. 69) 
branched: 40 (II. v. 55) 
breast: 27 (II. iii. 21) 
brock: 42 (II. v. 115) 
Brownist: 53 (III. ii. 36) 
bum-baily: 64 (III. iv. 197) 
but (if . . . not) : 47 (III. 

i. 46) 
but (than) : 10 (I. iv. 13) 
buttery-bar: 7 (I. iii. 75) 
by: 81 (IV. iii. 24) 
by and by: 64 (III. iv. 195) 
by'r lady: 28 (II. iii. 67) 

cam'st: 95 (V. i. 361) 
canary: 8 (I. iii. 90) 
cantons: 21 (I. v. 291) 
case: 88 (V. i. 169) 



Twelfth Night, or What You Will 121 



cast thy humble slough: 43 

(II. V. 163) 
Castiliano vulgo: 6 (I. iii. 

46) 
Catalan: 29 (II. iii. 83) 
catch: 27 (II. iii. 19) 
celebration: 81 (IV. iii. 30) 
chain: 31 (II. iii. 130) 
champian: 44 (II. v. 175) 
chantry: 81 (IV. iii. 24) 
checks: 42 (II. v. 127); 48 

(III. i. 72) 
cherry-pit: 62 (III. iv. 131) 
cheveril: 46 (III. i. 13) 
chuck: 62 (III. iv. 128) 
civil: 57 (III. iv. 5) 
clerestories: 76 (IV. ii. 42) 
clodpole: 64 (III. iv. 211) 
cloistress: 2 (I. i. 28) 
close: 39 (II. v. 23) 
cloyment: 37 (II. iv. 101) 
cockatrices: 65 (III. iv. 219) 
codling: 17 (I. v. 168) 
collier: 62 (III. iv. 132) 
comfortable: 19 (I. v. 240) 
commerce: 64 (III. iv. 194) 
compare: 37 (II. iv. 103) 
competitors: 75 (IV. ii. 12) 
comptible: 18 (I. v. 188) 
con: 18 (I. v. 187) 
conceiv'd: 95 (V. i. 374) 
conclusions to be as kisses: 

82 (V. i. 23) 
conduct: 66 (III. iv. 268) 
cons state without book: 32 

(II. iii. 163) 
consequently: 60 (III. iv. 

80) 
constant: 77 (IV. ii. 54) 
constellation: 11 (I. iv. 35) 
conster: 48 (III. i. 64) 
convents: 96 (V. i. 394) 
coranto: 9 (I. iii. 139) 
count: 9 (I. iii. 115) 
county's: 22 (I. v. 322) 
couplet: 71 (III. iv. 414) 
cousin: 16 (I. v. 124) 



coxcomb: 88 (V. i. 180) 
coystril: 6 (I. iii. 44) 
coziers': 30 (II. iii. 99) 
credit: 80 (IV. iii. 6) 
Cressida was a beggar: 48 

(III. i. 63) 
cross-gartered: 44 (II. v. 

169) 
crowner: 16 (I. v. 142) 
crush: 43 (II. v. 154) 
cubiculo: 54 (III. ii. 58) 
cucullus non facit mona- 

chum: 14 (I. v. 61) 
cunning: 20 (I. v. 260) 
curst: 54 (III. ii. 48) 
cut: 33 (II. iii. 206) 
cypress ( coffin .?) : 35 (II. iv. 

52) 
cypress (crape) : 50 (III. i. 

134) 

dally: 46 (III. i. 16) 
dark room: 62 (III. iv. 150) 
day-bed: 40 (II. v. 55) 
deadly: 21 (I. v. 286) 
dear: 84 (V. i. 75) 
deceivable: 81 (IV. iii. 21) 
dedication: 85 (V. i. 86) 
degree: 51 (III. i. 137) 
deliver'd: 93 (V. i. 327) 
delivers: 92 (V. i. 302) 
demure travel of regard: 40 

(II. V. 60) 
denay: 38 (II. iv. 126) 
deny: 75 (IV. i. 62) 
desperate (hopeless): 25 

(II. ii. 8) 
desperate (reckless) : 84 (V. 

i. 68) 
determinate: 23 (II. i. 11) 
dexteriously: 14 (I. v. Q5) 
diluculo surgere: 26(11. iii. 3) 
dimension: 21 (I. v. 282); 

91 (V. i. 247) 
discourse: 80 (IV. iii. 12) 
dismount: 66 (III. iv. 247) 
disorders: 30 (II. iii. 107) 



122 



Twelfth Night, 



dissemble: 75 (IV. ii. 5) 
distemper: 23 (II. i. 5) 
distempered: 15 (I. v. 97) 
distraction: 84 (V. i. 73) 
do you rest: 86 (V. i. 137) 
dog: 28 (II. iii. 66) 
dry: 13 (I. v. 44) 
dueUo: 69 (III. iv. 341) 

Egyptian thief: 86 (V. i. 

123) 
element: 2 (I. i. 36) 
Elephant: 57 (III. iii. 39) ^ 
enchantment: 50 (III. i. 

125) 
encomiter: 49 (III. i. 83) 
endeavour thyself: 79 (IV. 

ii. 106) 
enlarge: 92 (V. i. 288) 
entertainment: 19 (I. v. 

232) 
estimable wonder: 24 (II. i. 

28, 29) 
eunuch: 5 (I. ii. 60) 
event: 72 (III. iv. 433) 
excellent a touch: 23 (II. i. 

13) 
except before excepted: 5 

(I. iii. 7) 
expenses: 48 (III. i. 50) 
express: 23 (II. i. 16) 
expressure: 32 (II. iii. 174) 
extent: 74 (IV. i. 57) 
extracting: 92 (V. i. 291) 
extravagancy: 23 (II. i. 12) 

fadge: 26 (II. ii. 34) 
faU: 1 (I. i. 4) 
fancy: 1 (I. i. 14) 
fat: 86 (V. i. 113) 
faults: 43 (II. v. 142) 
favour: 34 (II. iv. 24) 
fear no colours: 12 (I. v. 6) 
feature: 71 (III. iv. 402) 
feeUngly: 32 (II. iii. 175) 
feUow: 60 (III. iv. 86) 
firago: 68 (III. iv. 305) 
fire-new: 53 (III. ii. 24) 



fit: 48 (III. i. 75) 

five wits: 78 (IV. ii. 94) 

flatter with: 22 (I. v. 324) 

fleshed: 74 (IV. i. 44) 

foUy-fall'n: 48 (III. i. 76) 

fond: 26 (II. ii. 35) 

for a May morning: 63 (III. 

iv. 158) 
for that: 52 (III. i. 168) 
forgive: 18 (I. v. 205) 
formal capacity: 42 (II. v. 

130) 
four elements: 26 (II. iii. 

10) 
fourteen years' purchase: 73 

(IV. i. 24) 
fraught: 84 (V. i. 65) 
free (generous) : 21 (I. v. 

281) 
free (carefree): 35 (II. iv. 

45) 
fresh in murmur: 4 (I. ii. 

30) 
from: 18 (I. v. 202) 
from Candy: 84 (V. i. 65) 
from it: 94 (V. i. 344) 
function: 88 (V. i. 165) 
fustian: 42 (II. v. 120) 

gaUiard: 9 (I. iii. 129) 
gaskins: 12 (I. v. 27) 
geek: 94 (V. i. 355) 
gentleness: 24 (II. i. 47) 
giddily: 37 (II. iv. 86) 
gin: 41 (II. V. 93) 
glass: 91 (V. i. 275) 
goes even: 91 (V. i. 249) 
goodman: 80 (IV. ii. 145) 
Gorboduc: 76 (IV. ii. 16) 
grace: 83 (V. i. 35) 
gracious: 21 (I. v. 283) 
Greek: 73 (IV. i. 19) 
grize: 51 (III. i. 138) 
grizzle: 88 (V. i. 169) 
guU: 55 (III. ii. 76) 
gull-catcher: 45 (II. v. 206) 
gust: 6 (I. iii. 34) 



or What You Will 



123 



haggard; 48 (III. i. 72) 
halting: 89 (V. i. 197) 
having: 70 (III. iv. 381) 
haviour: 65 (III. iv. 239) 
heat: 2 (I. i. 36) 
hey Robin: 78 (IV. ii. 79) 
high fantastical: 1 (I. i. 15) 
hob, nob: 66 (III. iv. 265, 

266) 
huU: 19 (I. V. 218) 
humour: 10 (I. iv. 5) 
humour of state: 40 (II. v. 

59) 
hyperbolical: 76 (IV. ii. 29) 

I am for aU waters: 77 (IV. 

ii. 69) 
idleness: 14 (I. v. 69) 
impeticos thy gratillity: 27 

(II. iii. 28) 
importance: 95 (V. i. 375) 
impressure: 42 (II. v. 104) 
in contempt of question: 41 

(II. V. 99) 
in grain: 20 (I. v. 257) 
in little: 61 (III. iv. 96, 97) 
in standing water: 17 (I. v. 

169) 
in voices well divulg'd: 21 

(I. V. 281) 
incardinate: 88 (V. i. 186) 
incensement: 66 (III. iv. 

263) 
incredulous: 60 (III. iv. 90) 
ingrate: 86 (V. i. 117) 
instance: 80 (IV. iii. 12) 
interchangement: 87 (V. i. 

163) 
invention: 94 (V. i. 356) 

jade: 44 (II. v. 180) 
jealousy: 56 (III. iii. 8) 
jets: 39 (II. v. 36) 
Jezebel: 40 (II. v. 47) 
joinder: 87 (V. i. 161) 
jump: 91 (V. i. 262) 



kickchawses : 9 (I. iii. 124) 
kindness: 24 (II. i. 42) 

lack persuasion: 70 (III. iv. 

385) 
lady of the Strachy: 40 (II. 

V 44 45 ^ 
lapsed:' 57 (III. iii. 36) 
late: 4 (I. ii. 28) 
leasing: 15 (I. v. 104) 
Legion: 61 (III. iv. 97) 
leman: 27 (II. iii. 27) 
lenten: 12 (I. v. 9) 
Lethe: 75 (IV. i. 66) 
lets: 91 (V. i. 259) 
lighter: 94 (V. i. 351) 
limed: 60 (III. iv. 84) 
list: 49 (III. i. 87) 
little: 88 (V. i. 175) 
liver: 2 (I. i. 37) 
living in my glass: 72 (III. 

iv. 417) 
love-broker: 53 (III. ii. 41) 

maidenhead: 19 (I. v. 233) 
make the welkin dance: 28 

(IL iii. 61) 
malignancy: 23 (II. i. 4) 
marry: 61 (III. iv. 117) 
maugre: 52 (III. i. 165) 
meddle: 67 (III. iv. 278) 
Mercury: 15 (I. v. 104) 
metal of India: 39 (II. v. 

17) 
mettle: 94 (V. i. 334) 
minion: 86 (V. i. 129) 
miscarry: 60 (III. iv. 71) 
misprision: 14 (I. v. 60) 
Mistress Mall: 9 (I. iii. 137) 
monster: 26 (II. ii. 35) 
mortal arbitrement: 67 (III. 

iv. 289) 
motion: 37 (II. iv. 100) 
motley: 14 (I. v. 62) 
mouse: 14 (I. v. 68) 
move: 61 (III. iv. 123) 
mute: 5 (I. ii. 60) 



124 



Twelfth Night, 



mutton: 9 (I. iii. 133) 
my conscience: 56 (III. iii. 
17) 

natural: 6 (I. iii. 31) 
nayword: 31 (II. iii. 147) 
newly: 87 (V. i. 159) 
nicely: 47 (III. i. 17) 
non-regardance : 86 (V. i. 

125) 
notoriously: 78 (IV. ii. 96) 
numbers: 42 (II. v. 113) 
nuncio: 11 (I. iv. 38) 

Od's lifelings: 88 (V. i. 188) 
o'erflourish'd: 71 (III. iv. 

406) 
of (for the sake of) : 90 (V. 

i. 240) 
of (on) : 57 (III. iv. 3) 
old age: 35 (II. iv. 48) 
on: 25 (II. ii. 3) 
on carpet consideration: 66 

(III. iv. 361) 
on your attendance: 10 (I. 

iv. 11) 
opal: 36 (II. iv. 76) 
open: 57 (III. iii. 37) 
opposite: 44 (II. v. 164) 
or: 75 (IV. i. Q5) 
orb: 47 (III. i. 44) 
orbed continent: 92 (V. i. 

381) 
orchard: 52 (III. ii. 8) 
othergates: 89 (V. i. 199) 
over-swear: 92 (V. i. 379) 
owe: 23 (I. v. 331) 

parish-top: 6 (I. iii. 45) 
part: 70 (III. iv. 379) 
participate: 91 (V. i. 348) 
pass upon: 48 (III. i. 49) 
passages of grossness: 55 

(III. ii. 80) 
passy-measures pavin: 89 

(V. i. 308, 309) 
pedant: 55 (III. ii. 83) 



peevish: 22 (I. v. 331) 
Peg-a-Ramsey: 29 (II. iii. 

84) 
Penthesilea: 33 (II. iii. 196) 
perchance: 3 (I. ii. 5) 
perdy: 78 (IV. ii. 83) 
perpend: 93 (V. i. 310) 
personage: 17 (I. v. 165) 
perspective: 90 (V. i. 337) 
pia mater: 16 (I. v. 133) 
picture of 'we three': 27 

(II. iii. 17) 
Pigrogromitus : 27 (II. iii. 

pilchards: 47 (III. i. 40) 
pipe: 11 (I. iv. 33) 
pitch: 1 (I. i. 13) 
pluck on: 95 (V. i. 378) 
point-devise: 44 (II. v. 178) 
points: 12 (I. v. Q5) [Cf. n. 

on I. V. 36] 
politic: 44 (II. v. 176) 
possess: 31 (II. iii. 151) 
post: 22 (I. V. 305) 
practice: 95 (V. i. 364) 
praise: 20 (I. v. 370) 
pranks: 37 (II. iv. 88) 
pregnant: 26 (II. ii. 39); 

49 (III. i. 101) 
present: 70 (III. iv. 383) 
presently: 65 (III. iv. 331) 
presuppos'd: 95 (V. i. 363) 
prevented: 49 (III. i. 95) 
private: 61' (III. iv. 103) 
probation: 43 (II. v. 144) 
proper: 93 (V. i. 331) 
proper-false: 26 (II. ii. 30) 
propertied: 78 (IV. ii. 101) 
propriety: 87 (V. i. 151) 
pure: 85 (V. i. 87) 

quick: 1 (I. i. 9) 
Quinapalus: 13 (I. v. 38) 
quirk: 66 (III. iv. 371) 
quits: 94 (V. i. 333) 

receiving: 50 (III i. 133) 



or What You Will 



125 



recollected terms: 34 (II. iv. 

record: 91 (V. i. 96Q) 
recover: 33 (II. ill. 203) 
regard: 90 (V. 1. 233) 
reliques: 56 (III. iii. 19) 
renegado: 55 (III. ii. 77) 
retention (capacity to hold) : 

37 (II. iv. 98) 
retention (reserve) : 85 (V. 

i. 85) 
reverberate: 21 (I. v. 393) 
revolve: 43 (II. v. 157) 
Roman hand: 58 (III. iv. 

33) 
round: 30 (II. iii. 104) 
rubious: 11 (I. iv. 33) 
rudesby: 74 (IV. i. 55) 
rule: 31 (II. iii. 133) 

sack: 33 (II. iii. 309) 
sad: 57 (III. iv. 5) 
Saint Bennet: 83 (V. i. 43) 
saws: 71 (III. iv. 415) 
scathful: 84 (V. i. 60) 
scout me: 64 (III. iv. 196) 
season: 2 (I. i. 30) 
seat where love is throned: 

34 (II. iv. 31, 33) 
self: 2 (I. i. 39) 
semblative: 11 (I. iv. 34) 
set: 89 (V. i. 307) 
several doors: 25 (II. ii. 

S. d.) 
shake your ears: 31 (II. iii. 

135) 
she: 20 (I. v. 361) 
sheep-biter: 38 (II. v. 6) 
shent: 79 (IV. ii. 115) 
sheriff's post: 17 (I. v. 157) 
shrewishly: 17 (I. v. 171) 
silly sooth: 35 (II. iv. 46) 
simulation: 43 (II. v. 153) 
sink-a-pace: 9 (I. iii. 141) 
sir: 60 (III. iv. 83) ; 75 (IV. 

ii. 3) 
skilless: 56 (III. iii. 9) 



skills: 92 (V. i. 398) 
skipping: 19 (I. v. 315) 
'slid: 72 (III. iv. 438) 
'slight: 39 (II. v. 38) 
sneck up: 30 (II. iii. 103) 
soft: 42 (II. V. 104) 
sooth: 23 (II. i. 11) 
Sophy: 45 (II. v. 199) 
sound (clear) : 11 (I. iv. 33) 
sound (murmuring breeze) : 

1 (I. i. 5) 
Sowter: 43 (II. v. 137) 
spinsters: 35 (II. iv. 44) 
spoke: 11 (I. iv. 30) 
squash: 17 (I. v. 167) 
stable: 81 (IV. iii. 19) 
staniel: 42 (II. v. 136) 
state (chair of state) : 40 

(II. V. 51) 
state (condition): 21 (I. v. 

399) 
stock: 10 (I. iii. 146) 
stone-bow: 40 (II. v. 53) 
stoup: 27 (II. iii. 14) 
stout: 44 (II. V. 187) 
strange (distant) : 44 (II. v. 

187) 
strange (estranged) : 90 (V. 

i. 333) 
strangle: 87 (V. i. 151) 
stuck: 68 (III. iv. 307) 
substractors : 6 (I. iii. 38) 
suited: 90 (V. i. 344) 
supportance: 68 (III. iv. 

333) 
swabber: 19 (I. v. 318) 
swarths: 32 (II. iii. 164) 
sweet and twenty: 28 (II. 

iii. 54) 

tabor: 46 (III. i. 3) 
taffeta: 36 (II. iv. 76) 
tainting of: 87 (V. i. 143) 
take up (acknowledge) : 87 

(V. i. 153) 
take up (make up) : 68 (III. 

iv. 333) 



126 Twelfth Night, or What You Will 



taU (fine): 6 (I. iii. 31) 
tall (robust): 75 (IV. ii. 7) 
tang: 44 (II. v. 165) 
Tartar: 46 (II. v. 327) 
taste: 49 (III. i. 88) 
Taurus: 10 (I. iii. 149) 
taxation: 19 (I. v. 236) 
tender: 86 (V. i. 130) 
testril: 27 (II. iii. 36) 
there's life in 't: 9 (I. iii. 

119, 130) 
this present: 20 (I. v. 354) 
thou thou'st: 54 (III. ii. 50) 
thought is free: 7 (I. iii. 74) 
throw: 83 (V. i. 45) 
tillyvaUy: 29 (II. iii. 86) 
time-pleaser : 32 (II. iii. 

163) 
tinkers: 30 (II. iii. 97) 
to: 66 (III. iv. 351) 
tongue of loss: 84 (V. i. 63) 
trade: 49 (III. i. 84) 
tray-trip: 45 (II. v. 309) 
trip: 88 (V. i. 171) 
tuck: 66 (III. iv. 347) 

unchary: 65 (III. iv. 335) 
understand: 49 (III. i. 90) 
undertaker: 69 (III. iv. 353) 
ungird: 73 (IV. i. 16) 
unhatched: 66 (III. iv. 360) 
unkind: 71 (III. iv. 404) 
unprizable: 84 (V. i. 59) 
unprofited: 11 (I. iv. 33) 
unsound: 70 (III. iv. 386) 
upon: 95 (V. i. 373) 
upshot: 78 (IV. ii. 77) 
use: 48 (III. i. 58) 
usurp: 18 (I. v. 199) 

validity: 1 (I. i. 13) 



venerable: 71 (III. iv. 399) 
vent: 73 (IV. i. 10) 
Vice: 80 (IV. ii. 138) 
viol-de-gamboys : 6 (I. iii. 

38) 
vouchsafed: 49 (III. i. 101) 
vox: 93 (V. i. 307) 
vulgar proof: 51 (III. i. 

138) 

wainropes: 54 (III. ii. 67) 
was: 80 (IV. iii. 6) 
weeds: 91 (V. i. 365) 
welkin: 48 (III. i. 66) 
weU-a-day: 79 (IV. ii. 119) 
well-favoured: 17 (I. v. 170) 
westward-ho: 51 (III. i. 

148) 
what (at which) : 81 (IV. iii. 

30) 
what (who) : 4 (I. ii. 33) 
whiles: 81 (IV. iii. 39) 
windy: 63 (III. iv. 183) 
wing: 42 (II. v. 136) 
wit and safety: 90 (V. i. 

331) 
with: 14 (I. V. 90) . 
with cars: 41 (II. v. 73) 
woodcock: 41 (II. v. 93) 
worn: 35 (II. iv. 34) 
worth: 56 (III. iii. 17) 
wrack: 84 (V. i. 83) 

yare: 66 (III. iv. 348) 
yeoman of the wardrobe: 40 

(II. V. 45) 
youngest wren of nine: 55 

(III. ii. 73, 74) 
your trouble: 24 (II. i. 35) 

zanies: 15 (I. v. 95) 



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